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, 192 pages + 92 page booklet, 23 × 30 cm
Published by Discipline / Melbourne
$30.00 - Out of stock
Edited by Nicholas Croggon, David Homewood, & Helen Hughes; with a guest edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center; and designed by Robert Milne.
Cover : Gordon Bennett
Editorial by Nicholas Croggon, David Homewood & Helen Hughes
Elizabeth Newman: Abstraction, Simulation, Obscuration by Francis Plagne
Critical Ambiguity: A Kantian Reading of Recent Work by Juan Davila by Helen Johnson
Trans-Pacific: Abstract Painting in Australia, New Zealand and America 1930–1960 by Rex Butler & A.D.S. Donaldson
Object Documentation by David Homewood & Bronté Lambert
The Dispute at the 19th Biennale of Sydney by Michael Ascroft
Illusion in Wendy Paramor’s Triad by Amelia Sully
Ambient Perspective and Endless Art by Nikos Papastergiadis & Amelia Barikin
Figures of the Machine: Richard Tuohy’s Halftone Films by Giles Fielke
Non-Resolution IRL by Danni Zuvela
Interview with Hito Steyerl by Amelia Groom
The Three Bodies of Angus Cerini by Jon Roffe
Encountering a Collection: Fiona Connor’s Wallworks by Kate Warren
What it’s Like to Dance Naked in the Museum and Other Thoughts: Stuart Ringholt’s Kraft (2014) by Liang Luscombe & Patrice Sharkey
Contemporary Art and Contemporaneity: Reflections on Method, Review of Reviews (Part 2) by Terry Smith
The Eternal Return of Irony: Gordon Bennett (1955–2014) by Ian McLean
Clothes by Centre for Style
Back Cover : John Citizen
Guess edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center (loose booklet in Bahasa and English)
Holopis Kuntul Baris: Karya Seni di Era Kolaborasi yang Tampak Mekanis / Holopis Kuntul Baris: The Work of Art in the Age of Manifestly Mechanical Collaboration
Pengantar/Introduction by Ferdiansyah Thajib
Kerangka Kolektivitas/Terms of Collectivity by Simon Soon
Wok the Rock & Co.: Memahami Persahabatan dalam Dunia Seni Yogyakarta/Wok the Rock & Co.: Making Sense of Friendship in Yogyakarta’s Art Scene by Nuraini Juliastuti
Punkasila, Kerjasama dan Persahabatan/Punkasila, Cooperation and Friendship by Syafiatudina
Hestu A. Nugroho (Setu Legi)
Softcover, 128 pages, 17 x 21 cm
Published by MUMA / Victoria
$20.00 - Out of stock
Publication to accompany the exhibition "Reinventing The Wheel: The Readymade Century", 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.
Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.
Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-fordism and other concerns, particularly among contemporary Australian artists.
Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.
Carl Andre, Hany Armanious, Nairy Baghramian, Ian Burn, John Cage, Christo & Jeanne-Claude, Tony Cragg, Michael Craig-Martin, Martin Creed, Aleks Danko, Julian Dashper, Simon Denny, Marcel Duchamp, Sylvie Fleury, Ceal Floyer, Claire Fontaine, Gilbert & George, Félix González-Torres, Agatha Gothe-Snape, Greatest Hits, Matthew Griffin, Richard Hamilton, David Hammons, Matt Hinkley, Lou Hubbard, Barry Humphries, Jeff Koons, Joseph Kosuth, Louise Lawler, Klara Lidén, Andrew Liversidge, James Lynch, Robert MacPherson, Rob McKenzie, Callum Morton, John Nixon, Meret Oppenheim, Joshua Petherick, Kain Picken, Rosslynd Piggott, Man Ray, Scott Redford, Stuart Ringholt, Peter Saville, Charlie Sofo, Haim Steinbach, Ricky Swallow, Masato Takasaka, Peter Tyndall, Alex Vivian, Danh Vo, Andy Warhol, and Heimo Zobernig.
Max Delany (former MUMA director), Charlotte Day, Francis E. Parker, and Patrice Sharkey.With texts by Rex Butler, Charlotte Day, Francis Parker, Patrice Sharkey, and a never before published text by Thierry de Duve.