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.
$34.00 - In stock -
Edited by Tom Burr and Karola Grässlin, Kunstverein Braunschweig
Texts by Tom Burr, Carina Herring, Juliane Rebentisch
Video peepshows, porno theatres, garden pavilions – with subtle insight, Tom Burr (*1963) sheds light upon what is marginalized, or not immediately recognizable. His works, which make reference to Minimal art’s object sculptures, redefine them in current socio-economic and “queer” aspects. By acting as an intermediary between formal stringency and socio-political content, Tom Burr’s works overcome Hal Foster’s criticism that Minimal art tended to “handle the viewer as historically innocent and sexually indifferent." With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.
In her seminal text on “Tom Burr’s Minimalism”, author Juliane Rebentisch discusses how the artist “injects a new political and aesthetic engagement into certain works by Smith, Serra, Smithson, and Morris, by shifting their logic.” Detecting a melancholic aspect of Burr’s queer minimalist appropriations, she writes that “they connect in a peculiar way with what one might call the sepulchral quality which seems to predestine the anti-monumentalism of the minimalist aesthetic for the tasks of memorial art. At the same time the dialectic of mourning and desire, which can be released by the recollection of a largely destroyed sub-culture in Burr’s minimalist adaptations, is also, at least potentially, directed forward towards another future – a queer future. In so far as Burr’s works also function as allegorical gestures by means of which an image of the present crystallizes in images of the past, this opens the present up to the future.“
$42.00 - Out of stock
Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a New York Times critic observes, are “brash, improvisational, full of searing color and attitude.” Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and post minimalist practices even as she engages pressing sociopolitics and economic issues of the present.
These illustrated essays address the full span of Genzken’s work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993.
Contributors: Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, Lawrence Weiner.
Contents: Isa Genzken: Two Exercises (1974)
Birgit Pelzer: Axiomatics Subject to Withdrawal (1979)
Benjamin H. D. Buchloh: Isa Genzken: The Fragment as Model (1992)
Benjamin H. D. Buchloh: Isa Genzken: Fuck the Bauhaus. Architecture, Design, and Photography in Reverse (2014)
Isa Genzken: Sketches for a Feature Film (1993)
Isabelle Graw: Free to Be Dependent: Concessions in the Work of Isa Genzken (1996)
Diedrich Diederichsen: Subjects at the End of the Flagpole (2000)
Pamela M. Lee: The Skyscraper at Ear Level (2003)
Benjamin H. D. Buchloh: All Things Being Equal (2005)
Wolfgang Tillmans: Isa Genzken: A Conversation with Wolfgang Tillmans (2003)
Diedrich Diederichsen: Diedrich Diederichsen in Conversation with Isa Genzken (2006)
Lisa Lee: “Make Life Beautiful!” The Diabolic in the Work of Isa Genzken (A Tour Through Berlin, Paris, and New York) (2007)
Lawrence Weiner: Isa Genzken Again (2010)
Juliane Rebentisch: The Dialectic of Beauty: On the Work of Isa Genzken (2007)
Yve-Alain Bois: The Bum and the Architect (2007)
Josef Strau: Isa Genzken: Sculpture as Narrative Urbanism (2009)
Hal Foster: Fantastic Destruction (2014)
Softcover, 288 pages (200 color ill.), 21.6 x 27.9 cm
Published by Sternberg Press / Berlin
$29.00 - In stock -
EXTRA TROUBLE—Jack Smith in Frankfurt
Texts by Sylvère Lotringer, Birte Löschenkohl, Sophie von Olfers, Laura Preston, Juliane Rebentisch, Mark von Schlegell, et al.
The publication brings together extensive material from Hamlet, mise-en-scène presented at Portikus, along with recently restored as well as never-published stills, drawings, and writings by American filmmaker and artist Jack Smith, related to his filmHamlet in the Rented World (A Fragment) (1970–73).
Hamlet, mise-en-scène, directed by Mark von Schlegell, was an adaptation that retold Shakespeare’s most abused tragedy while channeling the ghost of Jack Smith. The two-night rendition of Hamlet was performed by members of Städelschule’s Pure Fiction seminar, presented here alongside a rare selection of works by Smith, both from private collections and from the Jack Smith Archive.
Design by Pacific Design Solutions
Softcover, 296 pages, 13 x 21 cm
Published by Sternberg Press / Berlin
$32.00 - Out of stock
In recent years, debates surrounding the concept of art have focused in particular on installation art, as its diverse manifestations have proven to be incompatible with the modern idea of aesthetic autonomy. Defenders of aesthetic modernism repudiated installation-based work as no longer autonomous art, whereas advocates of aesthetic postmodernism abandoned the concept of aesthetic autonomy altogether. Juliane Rebentisch asserts that installation art does not, as is often assumed, dispute aesthetic autonomy per se, and rather should be understood as calling for a fundamental revision of this very concept. Aesthetics of Installation Art thus proposes a new understanding of art as well as of its ethical and political dimension.
"Aesthetics of Installation Art will rejuvenate and irrevocably change debates about the nature of aesthetic experience, the autonomy of art, modernism and postmodernism, and, through all of these, about installation art—certainly, in Juliane Rebentisch’s expanded definition of the genre, the most important form of art since the 1960s."
"Juliane Rebentisch’s study of the philosophical underpinnings of installation art brilliantly reevaluates the concept of aesthetic autonomy as the very condition of the possibility of 'art' itself. With captivating readings of Martin Heidegger, Theodor W. Adorno, Clement Greenberg, Rosalind E. Krauss, Jacques Derrida, Stanley Cavell, and others, Aesthetics of Installation Art pushes debates about 'site specificity' and 'Institutional Critique' to argue that aesthetic autonomy and the public sphere in installation art are, in fact, inseparable."
Softcover, 322 pages ( 138 b/w and 15 color ill.), 18.8 x 25.3 cm
Published by Sternberg Press / Berlin
$42.00 - Out of stock
With contributions by Anni Albers, Doug Ashford, Gaston Bachelard, Angelo Bellfatto, Nova Benway, Gregg Bordowitz, Johanna Burton, Theresa Choi, Beatriz Colomina, Lynne Cooke, Moyra Davey, Tom Eccles, Diana Fuss, Jennifer Gross, Elizabeth Grosz, Roni Horn, Jenny Jaskey, Susanne Küper, Elisabeth Lebovici, Nathan Lee, Zoe Leonard, Dorit Margreiter, Josiah McElheny, Helen Molesworth, Georges Perec, Juliane Rebentisch, David Reed, Lisa Robertson, Joel Sanders, Virginia Woolf, Amy Zion
Encounters with art engage various conditions of interiority—whether through psychic spaces or specific physical environments, such as museums and private residences. The exhibition “If you lived here, you’d be home by now,” presented at the Hessel Museum of Art, CCS Bard, in 2011, was the catalyst for the current volume, providing a paradigmatic case study for probing issues of the personal and subjective within realms of the sociological and the cultural. Through diverse discursive modes—commissioned essays, conversations and talks, historical writings, and artistic projects—this anthology, the first CCS Readers volume, examines the poetics and politics of interior experience within the frame of contemporary art.
Softcover, 176 pages, 234 x 259 mm
Published by Walther König / Köln
$39.00 - Out of stock
This volume includes two bodies of work by German painter Monika Baer (born 1964): her paintings of playing cards, dollar bills and stylized breasts floating against an abstract wash, and more recent works in which web-like patterns are cut out of the canvas, exposing the stretcher behind.
52 pages, fully illustrated, Owrps., with supplement booklet, 31.4 x 31,4 cm / 25.4 x 25.4 cm
Published by Distanz / Berlin
$50.00 - Out of stock
This new publication documents Mathias Poledna's 2004 film installation
"Version". The publication features a monographic essay by Juliane Rebentisch
on the work and its companion piece, "Sufferers' Version". Conceived and
designed by Mathias Poledna it takes on the form of a double LP-sleeve with
an insert of large-scale plates and a supplementary booklet. The cover
motive is a tribute to Ronald Clyne, the seminal designer of album sleeves
for the US-label Folkways Records. A numbered edition of 10+1 is signed by
the artist and contains a 12" dubplate especially produced for this