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.
Hardcover (cloth-bound), 192 pages, 23.5 x 28.6 cm
Published by Yale University Press / New Haven
$65.00 - Out of stock
Edited by Lynne Cooke, Karen Kelly, and Barbara Schröder. Texts by Benjamin H.D. Buchloh, Lynne Cooke, Suzanne Hudson, Susanne Küper, and James Lawrence
The first retrospective in the U.S. to feature German artist Blinky Palermo (1943–1977) includes more than 60 works, most of which have never before been shown in North America. This beautifully illustrated volume spans the breadth of Palermo’s brief but significant career and explores each phase, beginning with objects and paintings created shortly after he graduated from Joseph Beuys’s class at the Düsseldorf Art Academy in the early 1960s and culminating with paintings he produced during his last years in both Germany and New York City.
Palermo’s oeuvre is customarily divided into four principal groupings: the Objects; the Cloth Pictures (Stoffbilder), the in situ Wall Paintings and Drawings, and the late Metal Pictures, including the epic To the People of New York City (1976), now in the collection of Dia Art Foundation. Blinky Palermo also addresses the artist’s works on paper, including watercolors, sketches, preparatory studies, and prints that he made throughout his career.
Essays by distinguished authors position the artist’s work in relation to postwar American art and culture, which he greatly revered. Topics include the influence of the American milieu on the Metal Pictures; space and time in the Wall Drawings and Paintings; and the insights into Palermo’s concerns and process afforded by his works on paper. The most comprehensive volume on Palermo’s career to date, this important book offers a rare opportunity to explore in-depth the work of a remarkably innovative artist, pointing to Palermo’s relevance and influence on a new generation of artists.
(Blinky) Palermo (1943–1977) was born Peter Schwarze in Leipzig. In 1962, he entered the Kunstakademie Düsseldorf, where he studied with Bruno Goller and then with Joseph Beuys and, in 1964, appropriated the name Blinky Palermo from the American boxing promoter-cum-mafioso Frank “Blinky” Palermo, famous for managing heavyweight champion Sonny Liston. Over the course of his short life, Palermo participated in more than seventy exhibitions worldwide, including Documenta in 1972 and the Venice Biennale in 1975. He has had posthumous retrospectives at the Kunstmuseum Winterthur, Switzerland (1984); Kunstmuseum Bonn (1993); Museu d’Art Contemporani de Barcelona (MACBA) (2002); Kunsthalle Düsseldorf (2007); and Dia:Beacon and the Center for Curatorial Studies at Bard College, Annandale-on-Hudson, New York (CCS Bard) (2011).
Softcover, 296 pages, 23 x 16.5 cm
Published by Texte Zur Kunst / Berlin
$29.00 - In stock -
Speculation is clearly the buzzword of the moment; in philosophy, art, the art market, literature, and finance. But what does it mean, exactly, to speculate? Speculation grasps for the nonexistent. As a financial operation, speculation aims to make the future controllable, calculating possible price developments on the basis of empirical data. One of the elementary pacemakers of present-day capitalism, it also plays a pivotal role in generating value in the field of contemporary art. It transforms the character of collections, collectors now aiming at a subsequent resale with profit maximization.
In contrast, theoretical speculation, e.g. in the form of Speculative Realism, is directed toward the fundamentally uncertain. This philosophical movement, which is increasingly present in contemporary art discourse, frequently positions speculation against the programs of critique and aesthetics. The question is whether this leads to an unreflecting leap toward the ‘things themselves’ which in turn requires a critical examination; but also, wherein the opportunities of speculative models lie: Speculation bears the promise of not merely critically addressing what is given, but of catching up with the hypothetical, thinking the potential. In this sense, speculation is a driving force for any creative mode.
In this issue, we ask for theoretical, artistic, and curatorial assessments of the current boom of speculative models. We look at Speculative Realism, the work of its first protagonists and its recent developments, as well as the widely popular curatorial recourses to speculative philosophy, as seen in the exhibition Speculations on Anonymous Materials at Fridericianum, Kassel. Our authors discuss the generation of value in the art system; art’s function in investment portfolios; and the early case of the art speculators “La Peau de l’Ours” in early 20th-century Paris. We also examine the temporal contracts that are implemented by speculative operations. And, with Rainald Goetz and Alexander Kluge, we publish two authors who explore the proximity of speculation and (literary) writing.
Plus a picture spread by DIS and reviews from Berlin, Chicago, Düsseldorf, Irvine, Karlsruhe, London, Los Angeles, New York, and Paris.
Exclusive new artists’ editions by Albert Oehlen and Richard Phillips.
Speculative Realism – A Primer
The Speculative End of the Aesthetic Regime
The Value of Everything
Balanced Investments. On Speculation in the Art Market
How to Sell the Bearskin. An Early Case of Art Speculation
In the Pull of Time
A conversation between Joseph Vogl and Philipp Ekardt
On the Advantages and Disadvantages of Working Speculatively
A survey with statements by Diedrich Diederichsen, Karin Harrasser, Jenny Jaskey, Jutta Koether, and Sam Lewitt
Prosthetic Productions. The Art of Digital Bodies. On “Speculations on Anonymous Materials” at Fridericianum, Kassel
How to Own it
On “Collecting Art for Love, Money and More” by Ethan Wagner and Thea Westreich Wagner
This is Not an Orange
On Lindsay Lawson at Gillmeier Rech, Berlin
Ana Finel Honigman
An Air of Apathy and Awkwardness
On Kaye Donachie at Maureen Paley, London
A Lingering Absence
On Ilse D’Hollander at Konrad Fischer, Düsseldorf
Toward a New Monumentality
On Isa Genzken at MoMA, New York
On Language as Plastic Phenomenona
On Mira Schendel at Tate Modern, London
From Landscape to Lacan
On The Symbolic Landscape: Pictures Beyond the Picturesque at UC Irvine University Art Galleries
Behind the Sequined Curtain
On Pauline Boudry / Renate Lorenz at Badischer Kunstverein, Karlsruhe
Emma Hedditch / Kerstin Stakemeier
Ian White (1971–2013)
First Point, 2014