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
THURS 11-5 PM
FRI 11-7 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.
Softcover, 287 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
The June issue of Texte zur Kunst is dedicated to the curator, a figure in the art field that has gained authority over the past two decades. Ever since Harald Szeemann’s trendsetting documenta 5 (1972), “the independent curator” has counted as a new preeminent player in the art world. No longer employed by a museum but instead an initiator and author of project-based presentations at various institutions, the figure of the curator is also associated with the emergence of thematic group shows in which artworks, everyday objects, and documents, as equally treated exhibits, are meant to illustrate a hypothetical curatorial concept. In the art world of the 1990s—which was characterized by relations and interdisciplinarity, contexts and displays—curatorial activities were both popularized and professionalized. Curators increasingly acted as skilled networkers whose influence also grew due to the rising number of international biennials. At the same time, the notion of the curator or of curating has expanded beyond the confined boundaries of the art field and can now be found in all areas of cultural production. Against this backdrop the June issue of Texte zur Kunst examines how this rapid rise came about and what curatorial power really means. Thus, a perspective is opened that allows taking a fundamental look at the hegemonic structures in the art business and its effects.
Plus reviews from Berlin, Bregenz, Heidelberg, Karlsruhe, London, Los Angeles, Madrid, New York, Siegen, Vienna, and Winterthur.
Exclusive new artists’ editions:
Nick Mauss, Thomas Ruff, and Imi Knoebel
The Curatorial Subject
The figure of the curator between individuality and collectivity
Beatrice von Bismarck
Between Art and Public
A roundtable conversation with Natasa Ilic, Maria Lind, Nicolaus Schafhausen, and Jakob Schillinger
Lucy R. Lippard: Curating (Within) the System
The Curator as Meta-Artist
The case of HUO
Values and Interests
Survey among artists on the relationship to curators, with contributions by Monica Bonvicini, Claire Fontaine, Mariechen Danz, Olaf Nicolai, Adrian Piper, Thomas Scheibitz
Some notes on status anxiety
Through a Looking Glass
On John Smith at Tanya Leighton, Berlin, and Kestnergesellschaft, Hannover
Kill yr. Idols
On You Killed Me First at KW Institute for Contemporary Art, Berlin
Attention, Deficit, Disorder
On Dirk Bell at Sadie Coles HQ, London
Comments on the 7th Berlin Biennial By Sven Lütticken, Margarita Tupitsyn, and Victor Tupitsyn
Pedro De Llano
On Hans Haacke at Museo Nacional Centro de Arte Reina Sofia, Madrid
Back to Basics
On Madison Brookshire and Tashi Wada at the Wulf., Los Angeles
Rites of Spring
On the Whitney Biennial 2012 at the Whitney Museum of American Art, New York
Mark Dion & Gareth James
Jackie McAllister – Silence with Great Eloquence
Not another word for it, 2012
Porträt 1989 (I. Graw), 1989/2012
Anima Mundi, 2012
$44.00 - Out of stock
This anthology provides a multivocal critique of the exhibition of contemporary art, bringing together the writings of artists, curators, and theorists. Collectively these diverse perspectives are united by the notion that although the focus for modernist discussion was individual works of art, it is the exhibition that is the prime cultural carrier of contemporaneity. The texts encompass exhibition design and form; exhibitions that are object-based, live, or discursive; projects that no longer rely on a physical space to be visited in person; artists’ responses to being curated and their reflections on the potential of acting curatorially. Set against the rise of the curator as an influential force in the contemporary art world, this volume underlines the crucial role of artists in questioning and shaping the phenomenon of the exhibition.
Artists surveyed include:
Rasheed Araeen, Art & Language, AA Bronson, Daniel Buren, Graciela Carnevale, Andrea Fraser, Piero Gilardi, Group Material, Richard Hamilton, Huang Rui, Laboratoire Agit-Art, Louise Lawler, Glenn Ligon, Konrad Lueg, Matsuzawa Yutaka, Palle Nielsen, OHO (Marko Pogagnik), Hélio Oiticica, Philippe Parreno, Victor Pasmore, Raqs Media Collective, Gerhard Richter, Ruangrupa, Situationist International, Mierle Laderman Ukeles, Andy Warhol, Katsuhiro Yamaguchi
Judith Barry, Martin Beck, Charles Esche, Patricia Falguières, Elena Filipovic, Patrick Flores, Liam Gillick, Thelma Golden, Hou Hanru, Geeta Kapur, Pablo Lafuente, Lisette Lagnado, Lucy R. Lippard, Miguel A. López, Stuart Morgan, Chika Okeke-Agulu, Yvonne Rainer, Moira Roth, Seth Siegelaub, Wan-kyung Sung, El Hadji Sy, David Teh, Margarita Tupitsyn, Marion von Osten, Anton Vidokle, Peter Wollen
About the Editor:
Lucy Steeds is Pathway Leader in Exhibition Studies at Central Saint Martins, University of the Arts, London.