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.
Paperback, 116 pages, 17 x 24 cm
Published by CCA Wattis Institute for Contemporary Arts / San Francisco
$44.00 - In stock -
The CCA Wattis Institute in San Francisco dedicates year long seasons of discussions and public events to a single artist. In 2014–15, Joan Jonas was “on our mind.” This book brings together essays from writers, curators, art historians and artists that focus on a single work, from Jonas’ earliest films through her installation for the US Pavilion at the 56th Venice Biennale. The book also contains excerpts from readings and public lectures, and images by some of the other artists whose work was evoked in public and private conversation. Contributors include Jacqueline Francis, Renée Green, Quinn Latimer, Sarah Lehrer-Graiwer, Patricia Maloney, Elizabeth Mangini, Judith Rodenbeck and Lynne Tillman.
Softcover, 295 pages, 18.6 x 25cm
Published by New Museum / New York
$58.00 - In stock -
While Carol Rama (1918-2015) has been largely overlooked in contemporary art discourses, her work has proven prescient and influential for many artists working today, attaining cult status and attracting renewed interest. Rama's exhibition at the New Museum brings together over 150 of her paintings, objects and works on paper, highlighting her consistent fascination with the representation of the body. This book celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender and representation. Encompassing her entire career, it traces the development from her early erotic, harrowing depictions of "bodies without organs" through later works that invoke innards, fluids and limbs.
This catalog accompanying her New Museum exhibition features an interview with the artist by Lea Vergine, a new text by writer Sarah Lehrer-Graiwer, and a contribution by artist Danh Vo.
Softcover, 230 pages, 20.5 x 27 cm
Published by Cura Books / Rome
$20.00 - In stock -
cura. is a quarterly magazine, a publishing house, an exhibition space and a platform for editorial and curatorial activities, based in Rome, Italy.
COVER BY SOL CALERO
INSIDE THE COVER
text by Adam Carr
PORTRAITS IN THE EXHIBITION SPACE
Johannes Cladders’ anti-museum
by Lorenzo Benedetti
by Jean-Max Colard
James Bridle. Seeing Like a Network
in conversation with Ben Vickers
Self-Portrait as a City.
Alex Israel in conversation
with Gigiotto Del Vecchio
Anicka Yi’s Allegorical Bouquets
by Chris Sharp
by Rose Bouthillier
by Amy Yao
in conversation with
and Charles Teyssou
A VISIT TO
in conversation with
Joao Mourao & Luis Silva
in conversation with Philipp Ekardt
in conversation with
Debora Delmar Corp.
by Judith Vrancken
by Whitney Mallett
by Frances Loeffler
by Sarah Lehrer-Graiwer
Hardcover, 128 pages, 18 x 28 cm
Published by Sternberg Press / Berlin
$33.00 - In stock -
The subject of this book is a deceased prop, an object of a particular color, the green of cinematic trickery and special effects. It edged itself into Shahryar Nashat’s work in 2011, first appearing in Factor Green, an installation the artist produced for the Venice Biennale. Taking its final form a year later, the prop became properly known as La Shape and garnered critical acclaim for its sardonic personification of an unscrupulous impresario in Parade and star turn in Nashat’s video Hustle in Hand (both 2014). Earlier this year, its mysterious death at the height of its career became the occasion for Nashat and Los Angeles writer Sarah Lehrer-Graiwer to reflect upon the brief but meaningful life of a most singular figure.
Accompanied by archival images and a series of portraits that Nashat made during La Shape’s most prolific years, Obituary is a gripping read into a most mysterious icon and a timely consideration of the roles played, and agency expressed, by such a highly mediated art object.
Text by Sarah-Lehrer Graiwer
CGI by Andrea Faraguna
Design by Aude Lehmann
$34.00 - Out of stock
The artist Lee Lozano (1930–1999) began her career as a painter; her work rapidly evolved from figuration to abstraction. In the late 1960s, she created a major series of eleven monochromatic Wave paintings, her last in the medium. Despite her achievements as a painter, Lozano is best known for two acts of refusal, both of which she undertook as artworks: Untitled (General Strike Piece), begun in 1969, in which she cut herself off from the commercial art world for a time; and the so-called Boycott Piece, which began in 1971 as a month-long experiment intended to improve communication but became a permanent hiatus from speaking to or directly interacting with women. In this book, Sarah Lehrer-Graiwer examines Lozano’s Dropout Piece, the culmination of her practice, her greatest experiment in art and endurance, encompassing all her withdrawals, and ending only with her burial in an unmarked grave.
And yet, although Dropout Piece is among Lozano’s most important works, it might not exist at all. There is no conventional artwork to be exhibited, no performance event to be documented. Lehrer-Graiwer views Dropout Piece as leveraging the artist’s entire practice and embodying her creative intelligence, her radicality, and her intensity. Combining art history, analytical inquiry, and journalistic investigation, Lehrer-Graiwer examines not only Lozano’s act of dropping out but also the evolution over time of Dropout Piece in the context of the artist’s practice in New York and her subsequent life in Dallas.
About the Author
Sarah Lehrer-Graiwer is an art writer and curator based in Los Angeles, where she teaches at Otis College of Art and Design, publishes Pep Talk, and runs the experimental art venue The Finley Gallery. Her writing has appeared in such publications as Artforum, ArtReview, Art in America, Artonpaper, ArtSlant, Mousse, and exhibition catalogs.
Softcover, 132 pp. (b&w ill.), 21.7 x 16.5 cm.
Published by Overduin and Kite / Los Angeles
$25.00 - In stock -
Catalogue produced on the occasion of "Joint Dialogue - Lozano/Graham/Kaltenbach" curated by Sarah Lehrer-Graiwer at Overduin and Kite, Los Angeles, January 31st-March 13th, 2010.
“Joint Dialogue” investigates the intersecting material histories of Lozano, Graham and Kaltenbach at the end of the 1960s in New York. It’s about close personal relationships between artists and the way ideas are traded down forking paths of influence to become variously manifest, suppressed, and rerouted in art. It’s about three related but divergent models of how being an artist dictates an extreme experience of consciousness, one in which the self is constantly lost and refound, or, as Lozano put it, a total revolution simultaneously personal and public. It’s about a transformative time in these artists’ overlapping practices that is reflective of the explosive historical period of rapid experimentation in conceptual art. It’s about real stakes- and the profundity of humor. It’s about trying to process the still astounding after-effects of Lozano’s absent body through the presence of Graham’s and Kaltenbach’s.
Motivated by Lozano’s Dialogue Piece (1969), in which stoned socializing and conversations about ideas were prioritized over art making, the structure of “Joint Dialogue” is split into two dialogues linked by Lozano, the joint. In one room, the juxtaposition of eight related and contemporaneous works establishes a conversation about drugs, sex, and money between Graham and Lozano, who were intimate friends during the time these works were made. A dialogue between Lozano and Kaltenbach, another close friend, takes place in a second room where several related works from the late 60s are joined by two never before seen time capsules by Kaltenbach and two previously unknown pieces by Lozano, remembered here by Kaltenbach.
“Joint Dialogue” is an ongoing project of personal investigation and investment for the curator who privately documents the many discoveries made throughout. The project continues to feed back great quantities of info.
Lee Lozano, Dan Graham and Stephen Kaltenbach lived and worked near each other in New York City during the late 1960s. Kaltenbach left for California in 1970. Lozano dropped out of the scene around 1972. Graham continues to live and work in New York.
Sarah Lehrer-Graiwer is a writer and curator who lives and works in Los Angeles. She is the publisher of the journal Pep-Talk.
Catalogue features texts by Sarah Lehrer-Graiwer, Dan Graham, and Stephen Kaltenbach.