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.
$42.00 - Out of stock
STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces.
A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside.
Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another.
Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz.
Published on the occasion of the exhibition, Alexandra Bircken: STRETCH at Kunstverein Hannover (1 October – 27 November 2016); Museum Abteiberg Mönchengladbach (26 March – 25 June 2017); and Centre d’artcontemporain d’Ivry – le Crédac (8 September – 17 December 2017).
English and German text.
2003, English / German
Hardcover gatefold cardboard box, 40 page Illustrated booklet, 4 offset posters, 4 postcards, paper model of exhibition space (8 cardstock sheet, full color), 21.6 x 30.5 cm (box dimensions)
Edition of 700, Out of print title / used ,
Published by Revolver Verlag / Berlin
$160.00 - In stock -
Long out of print Lucy McKenzie box set from 2003, produced in an edition of 700 copies.
This boxed set was published on the occasion of Lucy McKenzie's first solo exhibition in a public institution. Informed by her recent roles of curator and public mural painter, McKenzie approaches the subjects of social and historical engagement. The name Brian Eno conjures up many connotations, and can be read as an emblem of sorts for dialogues around avant garde ideas, and an assimilation of these ideas into mainstream culture.
Brian Eno employs this reference to the musician and producer as a further dimension of the overall flat literalism employed by the visual elements of which it is constituted. Wilfully intended to be so, the mural installation, neon and drawings turned into posters and a paper model of the exhibition within this boxed publication, have their amateur "cottage industry" quality accentuated by their proximity to the professional, international intellectualism associated with Brian Eno.
Lucy McKenzie is a Scottish artist, based in Brussels. She is represented by Galerie Daniel Buchholz, Cologne; Cabinet, London and Galerie Micheline Szwajcer, Brussels.
English and German text.
*Condition: Very good – only light wear and bumping to box. All care is taken to provide accurate condition details of used books, photos available on request.
Hardcover (cloth-bound), 247 pages, 207 x 288 mm
Published by Walther König / Köln
$47.00 - Out of stock
Morgan Fisher became prominent in the early 1970s as an experimental filmmaker in the structuralist milieu, whose main interest was not the content of that depicted but rather the analysis of the medium itself. In the mid 90s Fisher turned to monochrome painting and the installation of monochrome paintings. Fundamental questions on the history and aesthetic of perception as well as its inscription in genres and technologies are central in all of Morgan Fisher's work. Forgoing the illusionism of narrative, Fisher reveals the conditions of perception in his films and reflects the creation and the nature of the filmic image. His post-conceptual painting deals with the relation between colour, size and form of an image, frames, the relationship of figure and ground as well as the observer's point of view - themes that have been contested since the abstraction of modernism and minimalism.