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, 256 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
With this issue, Texte zur Kunst takes a closer look at one of the most contested groups of art world protagonists—”The Gallerists”—continuing a series in which we have examined, previously, “The Curators,” “The Collectors,” and the “Artists’ Artists.” As gatekeeper to artistic production on the one hand and market valuation on the other, the art seller, since the inception of the “dealer-critic” / “dealer-collector” systems, has occupied a decidedly privileged position. But in recent years, the demands of this profession have changed dramatically—now requiring 24/7 communication, perpetual travel, and a constant presence at fairs. In these pages, we ask if in recalibrating to accommodate these pressures, the gallerist has, in a sense, become something other than what we once took him or her to be?
What, today, can we make of the “good” gallerist carefully establishing a stable of artists, “placing” their work over time in particular institutional and private collections? And how does this position correspond with those of the many new (or at least newly prominent) mediators further altering the field—the advisors and consultants, the “flippers,” and various digitally based aggregators?
Further to this, we ask if this restructuring is affecting (or indeed is an effect of) the ways in which artists now work. And if a market taking place independently of gallerists is indeed increasing, how then does this affect the established mechanisms of validation and canonization?
Also in this issue: an image spread by Dan Mitchell as well as reviews from Berlin, Bregenz, Heidelberg, London, Madrid, Mexico City, New York, Salvador, and St. Petersburg.
“Artrank and the Flippers: Apocalypse Now?”
“New York Recall”
Friedrich Petzel on his gallery / Richard Kern on Feature Inc.
“The Gallerist’s Hat”
On John Knight’s “JK, a work in situ, Art Basel” and the structural transformation of the art world
“Out of Düsseldorf”
“G-Force: Gallerists and the Expanded Market”
A roundtable conversation with Simon Denny, Nicole Hackert, Lisa Schiff, Niklas Svennung, moderated by Caroline Busta and Hanna Magauer
“Tips for a Gallerist I”
On galleries as commercial enterprises
“Tips for a Gallerist II”
The passion of the industry
On Johanna Burton and Anne Ellegood’s “Take It Or Leave It: Institution, Image, Ideology”
“Toward Criticism as an Anecdotal Science”
On “Pictures, Before and After: An Exhibition for Douglas Crimp” at Galerie Buchholz, Berlin
“All 47 Likes Are Mine”
On Richard Prince at Gagosian Gallery, New York
On Hanne Darboven at Museo Nacional Centro de Arte Reina Sofía, Madrid
“Heart and Soul”
On Colourbox at Between Bridges, Berlin
“Real Capital Seduction”
On KP Brehmer at Raven Row, London
On Valentina Liernur at Campoli Presti, London
Ana Teixeira Pinto
“Lines of Territory”
On Mariana Castillo Deball at Kurimanzutto, Mexico City
Ferris Bueller’s Day Off, 2014
Softcover, 172 pages (colour and b&w ill. throughout), 297 x 210mm
Published by Walther König / Köln
$43.00 - Out of stock
Compiled and edited by curator and art historian Lynda Morris, this title offers an original and highly personal perspective on Cadere’s place in the Conceptual Art world of the 1970s, and the continuing relevance of his ideas around ‘space and politics’.
At the centre of the publication is Morris’ chronology of Cadere’s exhibitions, appearances, walks and lectures during the last six years of his life.
This major piece of research shifts the focus away from the ‘round bars of wood’ as objects, and instead focuses on the meaning contained in the printed documents (gallery invitations, notices of lectures, debates and mailings) that record Cadere’s actions, movements and social relationships.
These archival documents come predominantly from two sources – the archive of Lynda Morris and the Herbert Collection, Ghent.
The publication contains new translations of lectures given by Cadere (Leuven, 1974), as well as reproducing an interview with the artist.
Published on the occasion of the exhibition Documenting Cadere, 1972–1978 at Modern Art Oxford; Mu.ZEE, Ostend, and Artists Space, New York, in 2012–13.
Xerox publication, comb bound, 90 pages (b & w ill.), 210 x 297 mm
Published by White Columns / New York
$15.00 - Out of stock
As with the term ‘artist’s artist’ there should perhaps be an additional category of ‘artist’s curators’ for which Morris would be an exemplary figure. Having worked for most of her career in regional British cities (inc. Nottingham and Norwich), Morris’ ongoing advocacy for the social realities and political necessity of art is evident in her most recent major project “Picasso: Peace and Freedom” an exhibition and accompanying book that she organized for Tate Liverpool, England, a project that considered the legacy of Picasso’s involvement in and support of the Peace movement.