World Food Books is a book shop in Melbourne, Australia.
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
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.
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Wurtz appears courtesy of Metro Pictures, New York.
December 15 - January 20, 2014
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
at Minerva, Sydney (curated by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
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
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
May 10 - June 8, 2013
During shop open hours videos played every hour, on the hour.
Softcover, 140 pages (colour and b&w ill.), 210 x 148 mm
Edition of 750,
Published by Clouds / Auckland
$25.00 - In stock -
PX: Thoughts on Painting was published following the two-part PX exhibition at St Paul Street Gallery, AUT University, Auckland – A Purposeless Production: A Necessary Praxis, curated by Leonhard Emmerling, and Snow Falls on Mountains Without Wind, curated by Jan Bryant.
This book functions both as a theoretical study of painting practice – two opposed essays disagreeing about the supposed purpose or operation of contemporary painting – and an exhibition catalogue, illustrating in full the wide variety of practices that made up this show of the work of painters (in the widest sense) from New Zealand, Europe and the US:
Whitney Bedford, Richard Bryant, Amelia Harris, Dil Hildebrand, Colin Lawson, Saskia Leek, Patrick Lundberg, Michel Majerus, Fiona Macdonald, Isobel Thom, Barbara Tuck, Genevieve Allison, Guy Benfield, James Cousins, Simon Glaister, Kerstin Gottschalk, Katharina Grosse, Simon Ingram, Imi Knoebel, Tumi Magnusson, Paul McCarthy, Judy Millar, Ben Morieson, Gerhard Richter, Nedko Solakov.
Bryant and Emmerling’s essays pay particular attention to the legacies of conceptualism and the diverse relations that contemporary painting holds with various art-historical, philosophical and political discourses. Here we find the figure of painting radically expanded for the twenty-first century.
Fusing Kant’s definition of art as ‘purposeless’ with Adorno’s notion of the autonomous work of art as the only one with utopian potential, Emmerling’s text considers painting’s complete uselessness as the basis of its inalienability. Bryant adapts Jean Paulhan’s ideas on cliché and terror and attempts to delineate a certain genealogy that might account for aspects of contemporary painting practice that can’t be folded neatly into dominant art-historical discourses, even when a dialogue with art history is being carried out.
Texts by Jan Bryant and Leonhard Emmerling
Designed by Tana Mitchell