World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme 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
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"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.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
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.”
“Food Bazaar”
“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".
John Nixon
"Archive"
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.
"Habitat"
at Minerva, Sydney (organised 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
Press Release:
“...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.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
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
"Aesthetic Suicide"
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.
1993, English
Hardcover (w. dust jacket, 296 pages, 30 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Indiana University Press / Indiana
Auschwitz-Birkenau State Museum / Olsztyn
$70.00 - Out of stock
"These photographs and drawings touch the limit of comprehension. The power of such direct evocation can only hint at the ultimate horror of Auschwitz. The importance of this album cannot be fully expressed in words"—Saul Friedländer
First 1993 hardcover edition. This graphic record of Auschwitz, the main center for the Nazi's systematic murder of European Jewry, is an overwhelming experience. Published in association with the Auschwitz-Birkenau State Museum (where Swiebocka is senior curator), it reproduces more than 280 pictures taken by Nazis, by liberating Allied forces and, clandestinely, by prisoners; there are also prisoners' drawings and paintings. Notes smuggled out of Auschwitz informing the world of the Nazi genocide and testimonies by prisoners who escaped are also included. The Nazis murdered more than one million people in the Auschwitz camp system, which was founded in 1940 in occupied Poland; 90% were Jews, but Poles, Gypsies, Soviet prisoners of war, homosexuals and people of other ethnic groups and nationalities were also exterminated. Recording the ravages of slave labor, starvation and torture, as well as the prisoners' struggle for life and dignity and the range of organized and spontaneous resistance to the Nazis, this is an essential Holocaust document.
Compiled and edited by Teresa Swilebocka, Teresa
Texts by Teresa Swilebocka, Connie Wilsack and Jonathan Webber
VG copy in VG dust jacket.
2012, English
Softcover, 144 pages, 17.7 x 20.9 cm
Published by
The Feminist Press / New York
$34.00 - In stock -
This novel of a young lesbian addict in ’90s NYC “recalls Naked Lunch” with “dreamy, impressionistic, and rapturous” prose―“an ecstatic love story” (Publishers Weekly)
Written in the brash, fervent voice of the young and addicted, this debut novel from underground superstar Laurie Weeks “is a short tome of infinitesimal reach, a tiny star to light the land” (Eileen Myles)
Strung out on dope and unrequited love for her straight best friend, Jane, the novel’s unnamed narrator zig-zags between glimpses of her childhood and early teens to the raw, super-caffeinated world of her present on the streets of New York. Chosen by Dave Eggers as Best American Nonrequired Reading and a winner of a 2012 Lambda Literary Award, this novel encapsulates the soaring highs and gritty lows of the junkie and the reckless intensity of love. “The book’s pulse is evident on every page.” (Lambda Literary)
“Zipper Mouth is a brilliant rabbit hole of pitch-black hilarity, undead obsession, the horror of the everyday, and drug, drugs, drugs.”―Michelle Tea, author of Against Memoir
Laurie Weeks has been an underground superstar in the New York downtown writing world since the 1980s. Her fiction and other writings have been published in The Baffler, Vice, Nest, Index, LA Weekly, and Semiotext(e)’s The New Fuck You. She has taught in writing programs at UC San Diego and The New School, and has toured the US with the girl-punk group Sister Spit.
2023, English
Softcover, 126 pages, 18.9 x 11.9 cm
Published by
Clash Books / US
$34.00 - Out of stock
In her electric debut, Madeline Cash synthesizes the godlessness of a digital age into a glimmering, sublime, life-affirming collage of stories.
Earth Angel is a book like no other, the paperback that swallowed the smartphone. An Isis recruit, an adolescent beauty queen, and a childless millennial walk into a bar. A Biblical plague rains down head lice, aerial drone strikes, gender non-conforming frogs. An app throws a slumber party for a friendless office worker. Texans in the winter, the Taliban in Springtime, Teslas with ??e???? bumper stickers, Frozen 5 in Arabic, architectural consistency laws in Laurel Canyon, the longest recorded nosebleed in history.
An unhinged jet stream that is ultramodern and poignantly timeless, capturing the angst of the post-millennial generation.
2003, English
Softcover, 234 pages, 22.9 x 15.2 cm
Published by
Routledge / London
$50.00 - Out of stock
Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.
"After these books are published, there will be no need for anyone else to write a how-to-understand-Deleuze book. The clarity of the prose, the careful explanation of each difficult and important concept, and the lack of any jargon whatsoever make this the definitive commentary on Deleuze." — Dorothea Olkowski, University of Colorado
First edition. As New.
1992, English
Softcover, 188 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
University of Ottawa Press / Canada
$40.00 - In stock -
First 1992 edition. This book provides an unconventional introduction to core philosophical issues by considering and contrasting two brief and accessible but highly influential and representative philosophical works: Descartes' Meditations on First Philosophy and Michel Foucault's The History of Sexuality: works which, in their respective styles and methods offer the most widely divergent paradigms of philosophizing on questions of epistemology.
VG copy with tanning to spine and cover top edge.
2023, English
Hardcover (w. dust jacket), 416 pages, 20.5 x 14 cm
Published by
Random House / New York
$59.00 - Out of stock
The first English-language translation of an essential, early work key to understanding the French philosopher's later thought.
In the decade prior to the publication of Inner Experience (L'experience interieure), the twentieth-century French philosopher Georges Bataille produced a nascent masterwork containing some of his most original and extensive reflections on a range of subjects. With thoughts on ritual sacrifice and military conquest, the nature of laughter, and the mechanisms of capitalism, The Limit of the Useful, as Bataille had planned to title the work, illuminates the philosopher's later corpus, yet it remained unfinished and unpublished in his lifetime, and untranslated until now.
This is the first English-language translation of what Cory Austin Knudson and Tomas Elliott argue is one of Bataille's most structurally consistent works. Paired with draft essays and plans for The Accursed Share, along with over a hundred pages of appendixes and notes, the volume distinctively elaborates Bataille's thought. The Limit of the Useful spans a decade of rich intellectual ferment in Bataille's life as he first formulated his challenge to capitalism, engaging with concepts and ideas in ways not seen in his other published works. The volume bridges the gap between Bataille's surrealist literary writings and later scientific pretensions, drawing attention to, and filling in, an overlooked lacuna in his oeuvre.
2023, English
Softcover, 224 pages, 21.5 x 14.8 cm
Published by
Sternberg Press / Berlin
$48.00 - Out of stock
What comes after end-of-world narratives: visions of just futurity and multispecies flourishing.
There is widespread consensus that we are living at the end--of democracy, of liberalism, of capitalism, of a healthy planet, of the Holocene, of civilization as we know it. Drawing on radical futurisms and visions of justice-to-come emerging from the traditions of the oppressed--Indigenous, African-American, multispecies, anti-capitalist--as materialized in experimental visual cultural, new media, aesthetic practices, and social movements, in this book. T. J. Demos poses speculative questions about what comes after end-of-world narratives, arguing that it's as vital to defeat fatalistic nihilism as the false solutions of green capitalism and algorithmic governance.
How might we decolonize the future, and cultivate an emancipated chronopolitics in relation to an undetermined not-yet? If we are to avoid climate emergency's cooptation by technofixes, and the defuturing of multitudes by xenophobic eco-fascism, Demos argues, we must cultivate visions of just futurity and multispecies flourishing.
1994, English
Softcover, 388 pages, 24 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by
Duke University Press / North Carolina
$55.00 - In stock -
Queering the Renaissance offers a major reassessment of the field of Renaissance studies. Gathering essays by sixteen critics working within the perspective of gay and lesbian studies, this collection redraws the map of sexuality and gender studies in the Renaissance. Taken together, these essays move beyond limiting notions of identity politics by locating historically forms of same-sex desire that are not organized in terms of modern definitions of homosexual and heterosexual.
The presence of contemporary history can be felt throughout the volume, beginning with an investigation of the uses of Renaissance precedents in the 1986 U.S. Supreme Court decision Bowers v. Hardwick, to a piece on the foundations of 'our' national imaginary, and an afterword that addresses how identity politics has shaped the work of early modern historians. The volume examines canonical and noncanonical texts, including highly coded poems of the fifteenth-century Italian poet Burchiello, a tale from Marguerite de Navarre's Heptameron, and Erasmus's letters to a young male acolyte. English texts provide a central focus, including works by Spenser, Shakespeare, Bacon, Donne, Beaumont and Fletcher, Crashaw, and Dryden. Broad suveys of the complex terrains of friendship and sodomy are explored in one essay, while another offers a cross-cultural reading of the discursive sites of lesbian desire.
Accessibly written, boldly interdisciplinary, Queering the Renaissance will be indispensable for literary critics, historians, and theorists seeking to understand the representation of same-sex desire in the early modern period.
Contributors. Alan Bray, Marcie Frank, Carla Freccero, Jonathan Goldberg, Janet Halley, Graham Hammill, Margaret Hunt, Donald N. Mager, Jeff Masten, Elizabeth Pittenger, Richard Rambuss, Alan K. Smith, Dorothy Stephens, Forrest Tyler Stevens, Valerie Traub, Michael Warner
Industry Reviews
"An outstanding collection . . . Not only does it contribute importantly to emerging areas of gay/lesbian studies and the history of sexuality by historicizing what has been for the most part a relentlessly presentist field; it makes significant scholarly contributions to traditional fields in Renaissance studies."-Karen Newman, Brown University
English / German
Softcover (+ CD), 188 pages, 18 x 18 cm
1st Edition, Out of print title / as new
Published by
Errant Bodies / Berlin
Smart Art Press / Michigan
$70.00 - Out of stock
First English edition, long out-of-print. CD included.
Site of Sound is an anthology focusing on current trends in experimental music, sound art and audio theories, featuring writings, visual works, interviews and artist projects by leading experimental composers, sound-artists, and architects whose work concerns itself with architectural and acoustic space, sound sculpture, field/environmental investigation and recording, and site-specificity. Complementing this are theoretical, fictional and diaristic writings by contemporary authors, cartographers and ecologists."—publisher's statement.
Edited by Brandon LaBelle and Steve Roden. Artists and contributors include Alison Knowles, Achim Wollscheid, Jalal Toufic, Hildegard Westerkamp, Phillip Corner, Christina Kubisch, Giancarlo Toniutti, Jake Tilson, Brandon LaBelle, Rolf Julius, Leif Elggren, CM von Hausswolff, Steve Peters, Ralf Wehowsky, David Dunn, Christof Migone, Loren Chasse, Moniek Darge, Michael Brewster, Max Eastley, Tim Robinson, Steve Roden, Rupert Loydell, Tom Marioni, Pierre Koenig, the Stalacpipe Organ at Luray Caverns, WrK, Minoru Sato, Toshiya Tsunoda, and Jio Shimizu. Includes audio CD featuring many of the featured works.
As New.
1991, English
Hardcover (w. dust jacket), 288 pages, 22.8 x 15.2 cm
1st Edition, Out of print title / used / very good
Published by
Zone Books / New York
$65.00 - Out of stock
“Since the end of the last century,” Walter Benjamin wrote, “philosophy has made a series of attempts to lay hold of the ‘true’ experience as opposed to the kind that manifests itself in the standardized, denatured life of the civilized masses. It is customary to classify these efforts under the heading of a philosophy of life. Towering above this literature is Henri Bergson’s early monumental work Matter and Memory.”
Along with Husserl’s Ideas and Heidegger’s Being and Time, Bergson’s work represents one of the great twentieth-century investigations into perception and memory, movement and time, matter and mind. Arguably Bergson’s most significant book, Matter and Memory is essential to an understanding of his philosophy and its legacy.
“It would greatly distort Bergson to minimize the amazing description of perceived being given in Matter and Memory. Never before had anyone thus described the brute being of the perceived world. In unveiling it along with nascent duration, Bergson rediscovers in the heart of man a pre-Socratic and ‘prehuman’ sense of the world.”—Maurice Merleau-Ponty
"Matter and Memory was the diagnosis of a crisis in psychology. Movement, as physical reality in the external world, and the image, as psychic reality in consciousness, could no longer be opposed. The Bergsonian discovery of a movement-image, and more profoundly, of a time-image, still retains such richness today that it is not certain that all its consequences have been drawn."—Gilles Deleuze
"Since the end of the Last century, philosophy has made a series of attempts to lay hold of the 'true' experience as opposed to the kind that manifests itself in the standardized, denatured life of the civilized masses. It is customary to classify these efforts under the heading of a philosophy of life. Towering above this literature is Bergson's early monumental work, Matter and Memory."—Walter Benjamin
Translated by N.M. Paul, W.S.
Henri Bergson (1859-1941) was awarded the Nobel Prize in 1927. His works include Time and Free Will, An Introduction to Metaphysics, Creative Evolution, and The Creative Mind.
2019, English
Softcover, 88 pages, 17.8 x 11.4 cm
Published by
Wakefield Press / Cambridge
$29.00 - Out of stock
Told through the horrified account of Messer Giacomo (a mediocre artist at once repulsed and fascinated by the events unfolding around him), Samalio Pardulus describes the simultaneous descent and ascent of the titular antihero, the wildly ugly painter of blasphemies, into a passionate perversion of Catholicism in which love and madness become one, as a dark, incestuous incubus settles into a doomed family.
In an isolated castle on the outskirts of a city in the Albanian mountains, Samalio Pardulus executes works too monstrous to bear viewing, and espouses a philosophy that posits a grotesque world which reflects the ravings of a dead, grotesque god.
When it was first published in 1908, Otto Julius Bierbaum's gothic novella -- the first of his "Sonderbare Geschichten" ("Weird Stories") -- offered a Gnostic stepping-stone between German Romanticism and the nascent Expressionism that had not yet taken root. It presents the grotesque not just as a way of life, but as a godly path to a higher vision, even when it appears to be but a manifestation of evil.
This first English edition includes the full set of illustrations by Alfred Kubin from the book's 1911 German edition.
1976, Japanese
Hardcover, 88 pages, 26 x 23.7 cm
Ed. of 600,
Published by
TB Design Institute / Japan
$380.00 - Out of stock
Rare, first, limited edition printing of Gashō Yamamura's 1976 masterpiece, "Plants", for which he won the 1st Ina Nobuo Award in the same year. After Yamamura (b. Osaka, 1939—1987) began photographing plants in 1974, he published two incredible, largely unknown collections of his otherworldly botanical photo-studies before his sudden death by suicide in 1987 — “Plants” (1976) and “Botanical Planetarium” (1988). Yamamura's plant photography is like no-other. "Caught in stroboscopic light, the plants stiffen momentarily; they emerge as strange shapes not seen in natural light, rising up and towering high as if by desire." [...] "The perspective is different to how we usually see flower beds and plants; there are no downwards, surveying gazes. Instead, many of Yamamura’s photographs employ an upwards angle, taken in close vicinity to the plants, the way a bug would see them. Here, even the tenderest of flowers appear as bold, towering structures. With this insectuous, un-human perspective, Yamamura carves out the strange and unfamiliar hiding in everyday reality and questions a way of looking that turns its subjects into mere trivialities." [...] "The sights that Yamamura captured expose plants as strange entities that exist in indifference towards human life. At the same time, they let us imagine a world before the presence of human life, or perhaps the world after our disappearance from this earth."—Mika Kobayashi, photography researcher
Includes poetry by Yasuo Fujitomi.
Highly recommended, an absolute favourite.
Yamamura began photographing in high school, focusing mainly on the children in his neighborhood. In 1959, he turned his attention to Americans living in Washington Heights, a residential area in central Tokyo that housed soldiers and their families. His images of American children, shot through fences or wearing masks, convey not only a sense of sinister strangeness and distance, but also the stark economic differences between American and Japanese children immediately after the war. He began photographing plants in the mid-1970s and continued to do so until his suicide at age 47 in 1987.
Very Good copy, light cover wear. Limited edition of 600.
1988, Japanese
Hardcover, (w. slipcase and obi), 31.5 x 31 cm
1st Edition, Out of print title / used / very good
Published by
ADV communication / Tokyo
$320.00 - Out of stock
Rare, first edition printing of Gashō Yamamura's 1988 masterpiece, Botanical Planetarium, published posthumously in this lavish, over-sized slip-case edition the year after the photographer's sudden death. After Yamamura (b. Osaka, 1939—1987) began photographing plants in 1974, he published two incredible, largely unknown collections of his otherworldly botanical photo-studies before his sudden death by suicide in 1987 — “Plants” (1976) and “Botanical Planetarium” (1988). Yamamura's plant photography is like no-other. "Caught in stroboscopic light, the plants stiffen momentarily; they emerge as strange shapes not seen in natural light, rising up and towering high as if by desire." “Botanical Planetarium”, which can be translated from the Japanese as “Hunting Flowers”, is Yamamura's photobook of colour plant photography, focussing exclusively on blossoms, the plants’ reproductive organs. "The perspective is different to how we usually see flower beds and plants; there are no downwards, surveying gazes. Instead, many of Yamamura’s photographs employ an upwards angle, taken in close vicinity to the plants, the way a bug would see them. Here, even the tenderest of flowers appear as bold, towering structures. With this insectuous, un-human perspective, Yamamura carves out the strange and unfamiliar hiding in everyday reality and questions a way of looking that turns its subjects into mere trivialities." [...] "The sights that Yamamura captured expose plants as strange entities that exist in indifference towards human life. At the same time, they let us imagine a world before the presence of human life, or perhaps the world after our disappearance from this earth."—Mika Kobayashi, photography researcher
Highly recommended.
Yamamura began photographing in high school, focusing mainly on the children in his neighborhood. In 1959, he turned his attention to Americans living in Washington Heights, a residential area in central Tokyo that housed soldiers and their families. His images of American children, shot through fences or wearing masks, convey not only a sense of sinister strangeness and distance, but also the stark economic differences between American and Japanese children immediately after the war. He began photographing plants in the mid-1970s and continued to do so until his suicide at age 47 in 1987.
Very Good—Near Fine copy preserved in original illustrated slip-case w. original obi-strip, light case/obi wear. Book fine.
1980, Japanese
Softcover (w. dust jacket and obi strip), 114 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Seven Sha / Tokyo
$900.00 - Out of stock
Stunning first edition of Kohei Yoshiyuki's cult classic photo book, Document: The Park (Document Park), published in 1980 by Seven Sha, Tokyo. Yoshiyuki's voyeuristic masterpiece, The Park is like no other photo book. A controversial volume of 74 photographs taken by the photographer using a 35mm camera, infrared film, and flash, Yoshiyuki documented a secret community of lovers and voyeurs who gathered in Shinjuku Park and Yoyogi Park between 1971 and 1973. His pictures document the people who gathered in these parks for clandestine trysts under the cloak of darkness, as well as the many spectators lurking in the bushes who watched—and sometimes participated in—these couplings. With their raw, snapshot-like quality, these images not only uncover the hidden illicit sexual encounters of their subjects, both homosexual and heterosexual, but they also serve as a chronicle of a Japan we rarely see. As Martin Parr writes in The Photobook: A History, Volume II, The Park is "a brilliant piece of social documentation, capturing perfectly the loneliness, sadness and desperation that so often accompany sexual or human relationships in a big, hard metropolis like Tokyo."
A beautifully printed book, complete with original dust-jacket and obi-strip. Includes two conversations with Kohei Yoshiyuki with Kenichi Matsumoto and Nobuyoshi Araki.
Kohei Yoshiyuki (b. 1946—2022) came to recognition in 1972 when material from his photo project “The Park” was featured in magazine Shukan Shincho, and a year later, in respected photo journal Camera Mainichi. However, it was the 1979 photo exhibition “The Park” at Komai Gallery and 1980 photo book “Document: The Park” that established him within the contemporary photographic landscape. Since then, Yoshiyuki was a recurrent fixture in Japan debauchery journal Super Photo Magazine along photographers: Nobuyoshi Araki, Daido Moriyama, Keizo Kitajima and Seiji Kurata.
Very Good copy with tanning to front-right edge of dust jacket. Light edge wear/age to jacket and obi. A lovely copy, well preserved.
1995, Japanese
Softcover (w. dust jacket), 29.8 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Outo Shobo / Tokyo
$240.00 - Out of stock
Very rare photo book by Japanese photographer Ikko Kagari, published in 1995 in Tokyo. Kagari made a number of these extraordinary, extremely questionable, surreptitious infrared photography collections in the 1980's—1990's, featuring secret "close-up photography" documenting clandestine sexual activities in public places — groping and upskirt photographs taken on packed Tokyo Metro commuter trains, in nightclubs, on escalators, couples making it in public toilets, parked cars and in parks with infrared strobe techniques reminiscent of Kohei Yoshiyuki's incredible Document Park. Cover-to-cover b/w reproductions of Kagari's grainy, blown-out infrared images that blur all lines between voyeur/participant and simulated/real, make for disorientating, sometimes claustrophobic, uneasy viewing. But they are also absolutely stunning, effective photo books that feel as conceptual as they do devious. Including selections from Kagari's "Document Commuter Train" (1982), as featured in The Photobook: Vol. III, by Parr & Badger, Kagari's fleeting in flagrante scenes capture erotic desire and criminal impulse engulfed by the soft folds of entangled garment fabrics, through foliage and grass, and across the cold darkness of the metropolis, with stunning technique. He went so far as to publish a how-to book for amateurs! Thankfully the 2000s saw the introduction of women-only carriages on the Tokyo Metro, relegating such expertise to history.
Very Good copy with VG dust jacket.
199?, Japanese
Softcover (w. dust jacket), 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Sakurato Shobo / Tokyo
$190.00 - Out of stock
Very rare photo book by Japanese photographer Ikko Kagari and others, published in the mid—1990s in Tokyo. Kagari made a number of these extraordinary, extremely questionable, surreptitious infrared photography collections in the 1980's—1990's, featuring secret "close-up photography" documenting clandestine sexual activities in public places — groping and upskirt photographs taken on packed Tokyo Metro commuter trains, in nightclubs, on escalators, couples making it in public toilets, parked cars and in parks with infrared strobe techniques reminiscent of Kohei Yoshiyuki's incredible Document Park. Cover-to-cover b/w reproductions of Kagari's grainy, blown-out infrared images that blur all lines between voyeur/participant and simulated/real, make for disorientating, sometimes claustrophobic, uneasy viewing. But they are also absolutely stunning, effective photo books that feel as conceptual as they do devious. Including selections from Kagari's "Document Commuter Train" (1982), as featured in The Photobook: Vol. III, by Parr & Badger, Kagari's fleeting in flagrante scenes capture erotic desire and criminal impulse engulfed by the soft folds of entangled garment fabrics, through foliage and grass, and across the cold darkness of the metropolis, with stunning technique. He went so far as to publish a how-to book for amateurs! Thankfully the 2000s saw the introduction of women-only carriages on the Tokyo Metro, relegating such expertise to history. With two pages of text by erotica author Kagero Mutsuki.
Very Good copy with VG dust jacket.
1988, English
Softcover, 78 pages, 30.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
KLF Publications / UK
$550.00 - In stock -
Extremely rare first 1988 edition of The Manual (How to Have a Number One the Easy Way), the legendary cult publication by "The Timelords" ("Time Boy" and "Lord Rock", aliases of Bill Drummond and Jimmy Cauty, better known as The KLF). The Manual is a 'Zenarchistic' step-by-step guide to achieving a No.1 single with no money or musical skills, and a case study of the duo's UK novelty pop No. 1 "Doctorin' the Tardis". The Manual is an unparalleled expose of the reality behind the pop-music business and while names may have changed since its first issue, the mechanics of financing, producing and promoting a hit set out here remain absolutely relevant.
"Firstly, you must be skint and on the dole. Anybody with a proper job or tied up with full time education will not have the time to devote to see it through... Being on the dole gives you a clearer perspective on how much of society is run... having no money sharpens the wits. Forces you never to make the wrong decision. There is no safety net to catch you when you fall."
Very collectible in this first, self-published large format edition (KLF009B). The following editions (also very hard to find) were much smaller in format.
Very Good, clean copy, with only light wear to stiff covers and corners.
1993, Japanese
Hardcover (w. dust jacket and obi), 82 pages, 24.6 cm x 30.5 cm
Out of print title / used / fine
Published by
Seibundo-Shinkosha / Tokyo
$220.00 - Out of stock
Japanese photographer Akira Ishigaki's award-winning photo book “Strange Fruit”, first issued in a very limited run in 1982 to only modest success and now considered an absolute masterpiece of SM art photography with it's 1993 re-edition in collector's hardcover (also long out-of-print). Ishigaki was still in his 20's when his publishers commissioned his second photo book and asked him to include some images of Kinbaku carefully executed by the then little-known bakushi Kaoru Roppongi, apprentice of Kitan Club contributor and Sun & Moon founder, rope master Keiichi Seda (see title above). Roppongi published work with SM Select, Sun & Moon and SM Fan, and in 1979 famously collaborated with Dan Oniroku and Naomi Tani. Shot quickly in 1982 at various locations outside of Tokyo (beaches, woods, an old inn), Strange Fruit is a remarkable and very original piece of work. Haunting, evocative, colourful and beautifully lit, its images take Kinbaku photography, up until then almost exclusively the province of SM and "adult" magazines, to a different level of artistry, one that would pave the way for other large format bondage art books that would appear in the 1990's. As visually accomplished as the finest works of Dan Oniroku, Daido Moriyama, Nobuyoshi Araki or Kishin Shinoyama. A masterpiece of the genre.
Fine copy of collectible hardcover 1993 edition in VG dust jacket with red original Obi-strip (not pictured)
2007, English
Hardcover (clothbound), 58 pages (w. fold-outs), 28 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Hammer / Los Angeles
$40.00 $20.00 - In stock -
Hardcover artist's book published on the occasion of Mathias Poledna’s Crystal Palace, a travelling exhibition/commission organized by the New Museum, New York; the Museum of Contemporary Art, Chicago; and the Hammer Museum, Los Angeles. Crystal Palace is a 35mm film installation comprised of a small number of long, static shots of the montane rainforest landscape of the Southern Highlands Province of Papua New Guinea. Using tightly framed medium-close to medium-wide shots, the film’s carefully selected scenes focus on the complex patterns, textures, and the overall abstract qualities of this environment, seemingly without human presence. Only subtle changes in light and movement in foliage provide visual cues to the passing of time. The film is accompanied by a dense and highly edited soundtrack created from on-location and archival field recordings that oscillate between distinct insect and bird sounds, and drone-like noise.
Poledna’s title, Crystal Palace, evokes the monumental glass-and-steel structure of that name constructed for the Great Exhibition of 1851 in London, an important precursor of modern architecture and industrialized construction that was built to present the newest products of the capitalist economy, accompanied by exotic displays, fauna and flora. Poledna’s work explores how meaning becomes attached to images and sounds; it creates a complex tension between a specific place, its cinematic appearance, and historical concepts circulating around it. In Crystal Palace, Poledna specifically references Sounds of a Tropical Rainforest, a 1951 album of staged field recordings produced by Folkways Records for the American Museum of Natural History to accompany an exhibition about indigenous Amazonian people.
Poledna’s work is also informed by film history, particularly the interconnections between early film and popular and avant-garde cinema, as well as the history of visual ethnography. Unlike traditional documentary and ethnographic film, Crystal Palace lacks an authoritative voice as it investigates a foreign place through an extremely narrow focus and highly subjective framing. While it presents itself as a fragmentary document of an existing landscape and its history, its images seem to deviate only slightly from our common assumptions of how a tropical rainforest might appear. The images’ virtual motionlessness and extreme depth of field, which paradoxically makes them appear flat, enforces a nonobjective dimension in the work, which, along with the intense soundtrack, suggests the physiological experience of abstract and structural film.
Very Good copy with buckle to boards and wave to inner edge pages.
1990, Japanese
Softcover (w. dust jacket), unpaginated, 21.5 x 27.5 cm
1st Edition, Out of print title / used / very good
Published by
Million Publishing / Tokyo
$160.00 - Out of stock
First, only edition of this great bondage photo book by Masatoshi Osanai, published by S&M Sniper's Million publishing house. "Binding Force" is a collection of works by the Japanese photographer who worked as a portrait photographer of idols and celebrities throughout the 1980s to the 1990s. This is his only book of bondage photography, announced in 1990 as "the first face restraint photo book in Japan!!". Like Helmut Newton and Robert Mapplethorpe, Osanai seamlessly works between portraiture and fetish photography, creating a conceptual photo book made up entirely of headshots of models gagged and bound in various face restraints, gas masks and the like. "It's a non-comedy. It's a comedy. It's the beauty of a mask, the wilderness of pleasure, or the grave marker of ecstasy that appears at the end of a transformation." (rough translation from the publisher's blurb). Includes texts (in Japanese) by Shuhei Takahashi and Akira Nagae.
Very Good—Near Fine copy in VG dust jacket.
2013, Japanese
Softcover, 212 pages, 28.2 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Amana / Japan
$160.00 - In stock -
First edition of this wonderful collection of Japanese photographers that captured 1970s Tokyo, now out-of-print. In the world of fine art photography, post-war Japanese photography is continuing to gather attention. Many Japanese photographers were active specifically during the large cultural and political development of the 70s as the country experienced rapid economic growth. At the time, new styles of expression with a strong focus on the individual viewpoint were beginning to develop, which were distinct to the social documentary photography prior to that. This also coincided with the development of photography within the fashion and advertising field, reflecting a period where the works of many unique photographers and styles began to grow. A careful selection of 160 bodies of works by 9 prominent photographers of the time, each individually portraying the excitement and rapid growth which symbolised the era. Taiji Arita, Eikoh Hosie, Daido Moriyama, Masatoshi Naito, Hajime Sawatari, Issei Suda, Yoshihiro Tatsuki, Shuji Terayama, Katsumi Watanabe.
Very Good copy with good dust jacket.
1971, English / Japanese
Softcover, 98 pages, 30 x 26 cm
1st Edition, Out of print title / used / very good
Published by
Mainichi Shimbun / Tokyo
$160.00 - Out of stock
Scarce first 1971 edition of acclaimed Japanese photographer Shunji Okura's photo book "Emma", published in 1971 by Mainichi Shinbun. A marvel of early 1970s nude "sentimental photography", this early book of Okura's is a touching, histrionic portrait of nudes and portraits and many moods of the alluring and charismatic young Japanese singer, model and actress, Emma Sugimoto, born under the sign of Gemini. Shunji Okura presents a delicate, playful and intimate relationship between photographer and muse through seventy five beautifully shot monochromes which have been laid out with a large amount of consideration to communicate Okura's intention as observer and photographer. Stunning intimate portraiture as mastered by the Japanese in this period. Joyous and melancholic. The grandson of Japanese painter Kawai Gyokudō, Shunji Okura (b. 1937) began his photographic career taking portraits of jazz musicians as well as working in fashion and beauty commercial photography.
Number 2 in Camera Mainichi's Private series.
Very Good copy, light cover/corner wear.
1971, Japanese
Softcover, 106 pages, 25.7 x 29.6 cm
Signed copy,
1st Edition, Out of print title / used / good
Published by
Mainichi Shimbun / Tokyo
$360.00 - Out of stock
Scarce first edition of Japanese photographer Yoshihiro Tatsuki's wonderful photobook "Private", published in 1971 by Mainichi Shinbun. This collectible copy is signed by Yoshihiro Tatsuki. Mariko "Private" is a beautiful collection of intimate colour and black and white photos taken in Tokyo, Karuizawa, California and Paris, with popular Japanese actress Mariko Kaga as the subject. This famed collection of joyful and touching portraits was published as a special issue of the great Camera Mainichi, edited by critic Shōji Yamagishi, with cover by printmaker Masuo Ikeda and features commentary by Toshiro Mayuzumi, Kazumi Yasui and others. Highly recommended.
Number 1 in Camera Mainichi's Private series.
Tatsuki was born into a family that operated an photographic portrait studio. While at Tokyo junior College of Photography, he exhibited photographs of his family at the Fuji Photo Salon. After graduation, he began working as a photographer at Ad Center under the art direction of graphic designer Seiichi Horiuchi. Tatsuki’s name entered the limelight when he was just 26 years old with the publication of "A Fallen Angel", an astonishing 56 pages feature of his photographs shots for Camera Mainichi. Since starting as a freelance photographer in 1969, he has worked on the front lines of the advertising, magazine, publishing, and motion picture industries. He has published a number of celebrated photo books on female subjects and is best-known for works such as GIRL, EVES, Private (Mariko Kaga), Aoi Toki, My America, and Portrait of Family.
Good copy with heavy tanning to cover edges and spine.
1971 / 2000?, English
Softcover, 64 pages, 23 x 30.5 cm
Out of print title / used / good
Published by
Grove Press / New York
$65.00 - Out of stock
When it first appeared in 1971, Larry Clark's groundbreaking book Tulsa sparked immediate controversy across the nation. Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. The raw, haunting images taken in 1963, 1968, and 1971 document a youth culture progressively overwhelmed by self-destruction -- and are as moving and disturbing today as when they first appeared. Originally published in a limited paperback version and republished in 1983 as a limited hardcover edition commissioned by the author, rare-book dealers sell copies of this book for more than a thousand dollars. Grove Press re-print of this seminal work of photographic art and social history
Larry Clark (b. 1943) is an American film director, photographer, writer and film producer who is best known for his controversial teen film Kids and his photography book Tulsa.
Very Good copy with some light tanning and wear to covers. Undated, presumed 2000.