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:
CLOSED FOR BREAK UNTIL NOV 10
WEB-SHOP OPEN 24/7
(ORDER SHIPPING RESUMES NOV 10)
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Fiction
Australian Science Fiction / Speculative Fiction
Australian Poetry
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Philosophy
Psychoanalysis
Anthropology
Anarchism
Socialism / Anarchism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism / Women's Studies
Gender Studies / Sexuality
Anthropology
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
2025, English
Hardcover (clothbound), 120 pages, 30 x 30 cm
Ed. of 250 copies w. unique hand-drawn details,
Published by
Self-Published / Naarm
$55.00 - In stock -
Darcey Bella Arnold’s A Measure of Disorder brings together a series of works on paper produced between 2022 and 2024. Presented in a 120-page limited edition (250 copies), measuring 30 x 30 cm, and printed in full colour on high-quality paper in a section-sewn hardback format, the publication documents a body of drawing-based works that extend Arnold’s ongoing inquiry into language, visual structure, and the disruptions embedded within systems of order.
The cover is embossed with black foil printing and each copy of the limited edition book is distinguished by hand-drawn lines in pencil by Darcey Bella Arnold to the cover, rendering each copy unique.
The book includes essays by curator Tim Riley Walsh and artist and curator Brooke Babington. These essays were originally developed in response to Arnold’s two-part exhibition series A Measure of Disorder, held at Gertrude Glasshouse (2022) and ReadingRoom (2023), both in Naarm/Melbourne. Babington’s essay Disordering Measures and Riley Walsh’s If a canvas is feeling and a page is thought situate Arnold’s work within broader conversations around feminist approaches to materiality, language, and repetition.
Designed by Yanni Florence, the publication maintains a focus on the material and formal qualities of the work. The drawings—reproduced at scale and in colour—are presented with attention to their spatial and conceptual detail.
Darcey Bella Arnold is a Melbourne-based artist working across painting, sculpture, and drawing in a research-led practice that interrogates language—its necessity, fallibility, and creative potential. Her work draws on metaphor, humour, and repetition to reframe familiar histories, cultural symbols, and institutional pedagogies through installation-driven environments that merge personal archives with broader cultural and political references. Arnold holds a BFA from the Victorian College of the Arts and Honours from Monash University, and has participated in national and international residencies including Gertrude Contemporary (AUS) and Eastside International (LA). Her work has been exhibited at major Australian institutions, with recent commissions at the Melbourne and Lorne Sculpture Biennales.
1981, English
Softcover, 176 pages, 21 x 29 cm
Signed by Virginia Fraser,
1st Edition, Out of print title / used / good
Published by
Sydney College of Arts / Sydney
$90.00 - In stock -
Australian photographer Virginia Fraser's copy of this fantastic publication from the Sydney College of Arts, 1981. Signed in red pen to the front blank page. Densely packed with essays and photo-essays focussing on photography, politics, theory, criticism, sexuality and racism. "This is the first publication in what we hope to be a continuing commitment to critical thought and practice in photography. Contributors from all over Australia were invited to participate on a collective basis for selection, layout and production." (from Foreword).
Features contributions from Fiona Hall, Terry Smith, Experimental Art Foundation, Sue Ford, John Williams, Ted Colless, Mimmo Cozzolino, Jacki Redgate, Violet Hamilton, Kris Hemensley, Charles Merewether, Martyn Jolly, Robyn Stacey, Esther Faerber, Anne Zahalka, Catherine De Lorenzo, Anne-Marie Willis, Christine Godden, and many more.
Good copy with some wear to extremities, sticker to front cover, light foxing to block edge.
1974, English
Softcover, 142 pages, 27.5 x 21cm
1st Edition, Out of print title / used / very good
Published by
Outback Press / Fitzroy
$650.00 - Out of stock
First edition of Carol Jerrems first, only photobook, "A Book About Australian Women", published by the Outback Press in Fitzroy in 1974, with text by Virginia Fraser. This now very collectable Australian photobook classic by Jerrems collects 131 portraits of Australian women dating from 1968 to 1974; 'womens liberationists, Aboriginal spokeswomen, activists, revolutionaries, teachers, students, drop-outs'. Preoccupied by subcultures or marginal groups, she intimately captures pockets of life previously ignored. A dynamic series of images that display Jerrems’ compositional flair, evident in the decorative synergy between foreground and background. The photographs are accompanied by text by Virginia Fraser.
Very Good copy with light tanning and edge/spine wear, very faint foxing to block edge. Lovely copy of this rare book.
1981, English
Softcover (staple-bound + fold-out poster), 32 pages, 30 x 22 cm
1st Edition, Out of print title / used / good
Published by
George Paton Gallery / Melbourne
$35.00 - In stock -
Scarce copy of the catalogue Australian Women Photographers 1890-1950, published by the George Paton Gallery, Melbourne University Union, 1981, including the A2 size poster for the exhibition folded inside as issued. Illustrated with texts by the Director of the George Paton Gallery at the time, Judy Annear, curator Barbara Hall, and Gael Newton, plus biographies for all photographers and catalogue of work.
Good copy with light wear, tanning and pinching to spine. Poster VG.
1987, English
Softcover (staple-bound), 84 pages, 30 x 21 cm
1st Edition, Out of print title / used / good
Published by
The Australian Video Festival / Paddington
$30.00 - Out of stock
Rare 1987 catalogue published on the occasion of the second Australian Video Festival 1987, 4—10 September 1987, co-ordinated by curator Sally Couacaud. A wonderful time-capsule of Australian and international developments in experimental video, inc. Computer Graphics, Music Videos, Documentary, Video Art, Corporate Video, etc. illustrated throughout in b/w with texts around a program of feature installations, exhibitions and screenings in Sydney, including "Terrorizing the Code" (new video from the US), "Scratch Video", "Video Tapes from Europe", "Video from South East Asia", "Video, Lunacy and Post-Culture Japan", "Tapes from Europe", "Women and High Technology", "Public Television", "German Video Art", and much more.
Features the work of Gretchen Bender, Martha Rosler, Robert Ashley, Jenny Holzer, Judith Barry, Allan Vizents, Dennis Del Favero, FILEF, Peter Westheimer, Warren Burt, Max Almy, Pater Tyndall, Dara Birnbaum, David Blair, Gary Hill, Juan Downey, Hans Breder, Tony Labat, Bill Viola, Robert Longo, Paper Tiger Television, Teri Yarbrow, Yolanda López, Hiroya Sakurai, Taeko Kitajima, Gorilla Tapes, The Duvet Brothers, John Maybury, Adrian Martin, Ross Harley, Bernice Murphy, Ian Haig, David Chesworth, and many more...
Good copy with some cover rubbing and spine pinching.
1992, English
Softcover (w. dust jacket), 140 pages, 26 x 20 cm
1st Edition, Out of print title / used / very good
Published by
MIMA / Melbourne
$35.00 - In stock -
Scarce catalogue edited by Adrian Martin and published in 1990 to accompany experimenta — A Major Survey of Film and Video Art, Melbourne, November 20—December 4, 1990, presented by Modern Image Makers Association Inc. (MIMA) and founded in 1988. Showcasing Australian video art, media art, installation and performance works.
Contents include: An introduction to Experimenta 1992 by Lizzette Atkins, Of Prisms and Tools: The Possibility of an Avant Garde by Vikki Riley, Australian Screenings, Introduction by Steven Ball, Opening Night, Signposts To The Imagination Re-animated; (re)constructing an art, Techknowledge, Dusan Marek's Cobweb On A Parachute — Essay by Arthur Cantrill, David Perry's The Refracting Glasses, Interview with David Perry, Passionate Uncertainty, Text and Textures, Engineering Memory: Views of History, Politics, Culture and Geography, Helical Scans: Diverse Ways of Seeing (Video) Programme 1 and 2, One Way Street: Fragments for Walter Benjamin, Sound and Image, Experience and The Other, The Fall Of The Berlin Wall, The Open 'Iron Curtain' and Post-Socialist Drama, Artists seen by artists, Die Mauer—The negative horizon, The Czech Avant Garde 1911-1941 essay by Jaroslav Andel, Programme 1, Programme 2, Video Programmes From 'New Europe' curated by Heiko DaxI, U.K., Intimate Imaginaries, Artist Screening: Michael Maziere, Slow Glass, U.S.A., Shalom Gorewitz-Experimental Television Center, New York, WAX, or the discovery of television among the bees, Flesh Histories, Programme 1, Programme 2, Japan, Emotional Wave: Image Network Japan, V.I.E.W., Shinya Tsukamoto's Tetsuo: The Iron Man, Interview with Shinya Tsukamoto, Performance: Introduction by Jeffrey Fereday, Artist statements, Installation: Introduction by Jennifer Phipps, Artist statements, Medienkunst—A survey of German, installation art— introduction by Heiko Daxl, Medienkunst-Artist statements, Special Events, Noisefest 2, Techno Garden, Century Endings - An Afternoon of Performance in the Great Hall, Seminars and Talks, Essays: Video As Art: Personal Observations From New York by Shalom Gorewitz, Some Thoughts on the German State of Things: Teaching Video by Ingo Petzke, An Attempt Toward The Anti-Oedipus-Japanese Video Art After The '80s by Junji Ito, Schedule of events, Artist index, Title index...
Includes the work of Arthur and Corinne Cantrill, Arf Arf, Ian Haig, GANG, Jun Kurosawa, Warren Burt, Chris Mann, Anne Ferran, Sadie Benning, Michelle Handelman, Monte Cazazza, Pete Spence, Fiona MacDonald, Cyber Dada Manifesto, Dale Nason, Troy Innocent, Dusan Marek, Critical Art Ensemble, John Maybury, David Perrt, Steven Ball, Karel Hašler, Otakar Vávra, Jiří Lehovec, Michael Maziere, David Blair, Danny Fass, Joe Kelly, Shelly Silver, Laurens Tan, John Gillies, and many more.
VG copy light wear to extremities/DJ.
1998, English
Softcover (staple-bound), 32 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Australia Post / Melbounre
Australia Post / Melbourne
$20.00 - In stock -
Rare exhibition catalogue published on the occasion of Designing Australia : Modernity And The Stamp 1936-1998, Postmaster Gallery Australian Philatelic Centre Melbourne, 25 April—6 July 1998, curated by Sally Gray.
In 1997 independent curator, author and scholar in art, design and urban studies, Sally Gray proposed an exhibition concept to Australia Post focusing on Australian modernism as expressed in the graphic design of Australian stamps. She researched and selected examples of proto-modern, modernist and post-modern graphic design for Australian stamps. The preliminary designs and finished printed stamp designs were shown in the Postmaster Gallery at the Australian Philatelic Centre in Melbourne. The catalogue included commissioned essays on styles of representation on stamps, Australian graphic design history and changing perceptions about national visual identity.
Illustrated throughout in colour and b/w with works by Gert Sellheim, Sydney Ball, Eric Thake, Erica McGilchrist, Brian Sadgrove, Garry Emery, John Coburn, Mimmo Cozzolino, Phil Ellett, Alex Stitt, and many others.
VG copy.
1990, English
Softcover (staple-bound), 54 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
MIMA / Melbourne
$25.00 - In stock -
Scarce catalogue edited by Adrian Martin and published in 1990 to accompany experimenta — A Major Survey of Film and Video Art, Melbourne, November 20—December 4, 1990, presented by Modern Image Makers Association Inc. (MIMA) and founded in 1988. Showcasing Australian video art, media art, installation and performance works, this iteration also included programs of Lettrist Cinema and French Avant-Garde film from the 1980s. Illustrated throughout with information on all of the works, accompanied by essays: Adrian Martin – "The Adventures of Form", John Conomos – "Video as Moonlighting", Christian Lebrat – "The Lettrist Cinema of the 1950s", Vikki Riley – "The Picture Can't Get Any Louder", John Flaus – "In the Eye's Mind - Paul Winkler Retrospective.
Includes the work of Arthur and Corinne Cantrill, Maria Kozic and Ian Haig, Peter Callas, Josko Petkovic, Edward Colless, Tona Keane, Arf Arf, Shelley Lasica, Peter Tyndall, Gerald Murnane, William Yang, John Nixon, Primary Source, Warren Burt, Chris Mann, Stelarc, Pete Spence, Philip Brophy, David Cox, Maurice Lemaitre, Frederique Devaux, Cyber Dada Manifesto, Dale Nason, Troy Innocent, Lydia Lunch, Foil, Swans, Einsturzende Neubauten, Butthole Surfers, Violinda, Steven Ball, and so many more...
VG copy light wear to extremities.
1996, English
Softcover, 116 pages, 21 x 15 cm
Ed. of 300,
1st Edition, Out of print title / used / good
Published by
ACCA / Melbourne
$45.00 - In stock -
Very rare copy of Transgression And The Culture Industry — Critical Media: Perspectives On New Technologies, the book document of The Gordon Darling Foundation Seminars 1995, with guest convenors Denise Robinson and Julianne Pierce (VNS Matrix), presenting the papers from seminars held at the Australian Centre For Contemporary Art, Melbourne, 8 April—7 October 1995.
Contents:
"Introduction" – Denise Robinson, "Duchamp's Queer Signature" – Rex Butler, "Transgression And The Culture Industry (Australia/1995)" – Lesley Stern, "The Art Curator, Our Cultural Transponder" – Juan Davila, "Normalizing Transgression" – David M. Halperin, "Introduction" – Julianne Pierce, "The Indifference Engine – 1990s Culture And The Corporate Imagination" – David Cox, "Observations" – Linda Wallace, "The Amazing Mcscent™ Machine" – Bridget Mcgraw, "Rehearsal Of Memory" – Graham Harwood.
"This one day symposium is a response to the sliding formations of the concept of 'transgression', as it is appropriated, mobilised or mutated by our contemporary cultural institutions. The event comprised two elements. A two hour film screening of short films included a selection from 1964 by New York underground film maker, Kenneth Anger and a selection of recent contemporary films from Australia by Christopher Ryan and Leone Knight. A second element involved a presentation of papers published here by Rex Butler, Juan Davila, David Halperin and Lesley Stern. The papers were not intended to act as a commentary of the films or the films to reflect the papers, rather the co-existence of these elements were to function more like a folding of the languages of cinema and visual art: as one possible means of illuminating the effects of the historicisation of 'transgressive strategies in relation to the Culture Industry."—DENISE ROBINSON, Introduction
Good copy with sunned spine edge, crease to back cover corner.
2025, English
Softcover, 144 pages, 20 x 14.5 cm
Published by
un / Naarm
$30.00 - In stock -
un 19.1 Resonant Imaginaries
Edited by Lucreccia Quintanilla
Contributions by Anabelle Lacroix, Shareeka Helaluddin, Aasma Tulika, Daisy Currie, Nicholas Currie, Edwina Stevens, Nadeem Tiafau Eshraghi, Ripley Kavara, mgmgmgmg, Hannah Wickramasuriya, Hayden Ryan, Justine Makdessi, Geoff Robinson, Samuel Beilby, Victoria Pham, Wen Pei Low, Suneel Jethani.
1983, English
Hardcover (w. dust jacket), 198 pages, 22 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Norstrilia Press / Brunswick
$150.00 - In stock -
Very rare first 1983 hardcover edition of Dreamworks: Strange New Stories, an anthology of speculative fiction from Australian writers, edited by David King and published by Norstrilia Press, Brunswick. Features Gerald Murnane, Greg Egan, George Turner, Russel Blackford, Lucy Sussex, Andrew Whitmore, Kevin McKay, Henry Gasko, David King, Bruse Gillespie, Damien Broderick, David J. Lake, dedicated to Philip K. Dick.
Norstrilia Press is a small press established in 1975 prior to Aussiecon, Australia's first world science fiction convention, by Rob Gerrand, Bruce Gillespie and Carey Handfield. Specialising in science fiction and speculative fiction, they published books by Gerald Murnane, Greg Egan, George Turner, Damien Broderick, Roger Zelazny, and many others.
Are you tired of sheepdip in your fiction and suntan oil in your reading matter?
Are you sick of the short stories you read today—even those which win prizes and make the bestseller lists?
What is the missing ingredient in the short story today?
Dreamworks provides the answer—the missing element in today's short stories. It's a radical new perception of what is 'real'.
This is not the old 'reality' which everybody around you accepts. This is the newer, more vivid reality of...
... an Australia colonised by the Spanish ('Life the Solitude')
an Australia which was never really colonised at all ('Land Deal')
... a next-door apartment in which lives God, who is just as threatened by the dangerous future as we are ('What God Said To Me When He Lived Next Door')
... a 'reality' where reality disappears altogether, only to re-emerge unexpectedly ('Feedback').
Dreamworks includes twelve stories which show radical shifts of perspective, surprising twists of fate, and delightful glimpses of cosmic humour-all part of the book's 'new reality'.
'The reader becomes imbued with a zest- fulness,' writes critic Dr Van Ikin, 'responding to the questing philosophical spirit with which these writers have con- fronted their troubled times.'
Very Good copy in VG dust jacket with discolouration. Some tanning/foxing to book block edges.
2025, English
Softcover, 188 pages, 29.5 x 20.5 cm
Published by
AdminAdmin / Melbourne
$45.00 - In stock -
Containing original contributions; artwork, art-historofiction, hagiofiction, critical essays, poetry and prose, some loosely centred around instinct and the mind.
This with contributions by Erik van Lieshout, Peles Duo x Rob Crosse, CAConrad, Robert McKenzie, Mark Beasley, Hany Armanious, Patrick Hartigan, Elizabeth Pulie, Anthea Behm, Luke Stettner, Skyler Brickley, Tommy Miller, Rebecca Holborn, Penelope Latté, Guy Benfield, Jason Vorhees.....and more
2025, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Edition of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Number 20 in the ongoing series of artist zines published by Light of Day Books, Melbourne, each in an edition of 50 copies.
POSTMORTEM
The angel of death is a ubiquitous pest
A phantom that buzzes in the shadows
Then falls silent
Ready for the kill
Postmortem is about fear and revulsion
And blood and compassion
About death and beauty
About transformation
Robert Ashton, born in Melbourne in 1950, is an Australian photographer known for his distinctive documentary style that emerged in the 1970s. After studying photography at Prahran College (1969–71), he became immersed in a creative community that included Carol Jerrems, Paul Cox, and cousin Rennie Ellis, with whom he shared a studio and worked at Brummels Gallery. His 1974 book Into the Hollow Mountains, documented everyday scenes in Fitzroy with striking intimacy. It was recently republished in an expanded edition. He has exhibited widely and is known for using hand-built large format cameras and traditional printing methods such as photogravure and the Collodion process to produce his work.
2025, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Edition of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Number 21 in the ongoing series of artist zines published by Light of Day Books, Melbourne, each in an edition of 50 copies.
Using a technique of double exposures developed while shooting Tokyo’s Yamanote line in 2024, Train Fetish frames the contemporary rolling stock of Melbourne’s transit system as objects of obsession and desire, dwelling on moments of urban intensity. With steel carriages superimposed in front of jagged skylines, Train Fetish recalls the glorification of trains in British railway posters, the obsessiveness of the anorak brigades and the central pillar of graffiti culture. From Comengs to X’Traps, each image is a near-seemless collage of images, with the odd glitch adding elements of drama and uncertainty. Composed on the platforms of Melbourne’s train network, Train Fetish showcases the first images in a longer series that has since expanded to include Tokyo, London and Berlin.
Lachlan MacDowall is a writer, photographer and curator based in Melbourne/Naarm. His work examines the evolution of contemporary cities using a mix of genres, images and data. His recent books include Instafame: Graffiti and Street Art in the Instagram Era and Off the Grid: Invader and Street Art of the Early 2000s, as well as the Flash Forward and Skyrail series of exhibitions. He is currently Director of the MIECAT Institute in Melbourne, Australia.
2025, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Edition of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Number 22 in the ongoing series of artist zines published by Light of Day Books, Melbourne, each in an edition of 50 copies.
These photos were taken on the Camino de Santiago, a long walk across northern Spain in the northern autumn of 2024, from mid-September to late October. During the walk I took photos of numerous subjects that took my fancy along the way. Subjects included, cemeteries, playgrounds, hobbit-house-like bodegas, bridges, canals, underpasses and graffiti, haystacks, horreos (stone and timber maize storage houses on stilts in Galicia), mists and fog, pelota courts in towns and settlements in the Pyrenees, rainbows, statues and underpasses. Photographed on my phone, the lens often grimy or misted, the photos are what they are.
I decided on the pairing of the playgrounds and cemeteries, each holding their own sense of melancholy. The light was failing towards November, the path was solitary as I walked slowly, after the crowds had passed me.
Sandra Bridie's work straddles individual practice, collaboration, exhibition curation, writing, and the interview as documentation of individual and collective artistic practice in Naarm, (Melbourne) Australia. Bridie's individual practice involves the creation of fictional artists, presented via a suite of art works from a range of media.
2025, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Edition of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Number 23 in the ongoing series of artist zines published by Light of Day Books, Melbourne, each in an edition of 50 copies.
Robert Rooney, a pioneering Australian conceptual artist, created The Quadrangle series while studying at Swinburne Technical College between 1956 and 1958. Using a simple Box Brownie camera, these early photographs reveal his emerging interest in seriality and subversion.
Robert Rooney (1937–2017) was a Melbourne-born artist and influential art critic, known for his contributions to Australian Conceptual art. Trained at Swinburne College and later at the Preston Institute, he gained early recognition in the 1960s for his hard-edged abstract works inspired by everyday suburban imagery. In 1968, he was featured in the landmark exhibition The Field. From 1969 to 1981, he explored conceptual photography before returning to painting in the 1980s, notably with works based on printed ephemera. Rooney also wrote extensively on Australian art, serving as a critic for The Age and The Australian.
Robert Rooney The Quadrangle 1956, printed 2013, from The Box Brownie Years 1956–58 series 1956–58. National Gallery of Victoria, Melbourne. Bequest of Robert Rooney, 2019 © Estate of Robert Rooney. Images courtesy National Gallery of Victoria, Melbourne.
2025, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Number 24 in the ongoing series of artist zines published by Light of Day Books, Melbourne, each in an edition of 50 copies.
'everyday life' takes the form and title of an outdated advertising catalog as it's starting point. A call to transform the systems at play in our lives. informally grids, lines, boxes, form in silver marker interrupt the information held in the 16 pages of the catalog. Like a newspaper being reused to house hot chips, reborn as a blank yet loaded surface. Meandering lines creating their own paths of desire, outside of the advertisers, like snails in the mailbox.
Christopher L G Hill is an artist, anarchist, collaborator, facilitator, curator, lover, friend, noise wall proprietor, gardener, Bunyip trax, walker, homebody, dancer, considerate participator, Endless Lonely Planet, Y3K, Dungeon & Meadow, slip'n, graffiti bencher, eater, exhibitor: Goya Curtain, Sutton Projects, Savage Garden, Pricilla's, Asbestos, Sydney, Physics Room, Westspace, TCB, BUS, Punk Cafe, Daine Singer, 100 Grand street, Lismore Regional Gallery, Good Press, Gambia Castle, room, Conical, GCAS, NGV, VCA, Mission Comics, Slopes, Art Beat, Papakura Gallery, Neon Parc, UQ Gallery, Tate Modern, Connors Connors, Glasgow International, Sandy Brown, OFLUXO, New Scenarios, Margaret Lawrence, Flake, Utopian Slumps, World Food Books, Sutton, Rearview, Joint Hassles, a basement, a tree, Innen publications, SAM, Chateau 2F, etc, and tweeter, twitcher, sleeper, conversationalist, gallerist, musician & DJ; who represents themself.
1982, English
Softcover, 68 pages, 20 x 13 cm
1st Edition, Out of print title / used / very good
Published by
Rigmarole of the Hours / Clifton Hill
$55.00 - In stock -
Signed copy of the wonderful first book of writings by Polish-born Australian poet, playwright, prose writer, philosopher and visual artist Ania Walwicz (1951—2020), published in 1982 by Rigmarole Books, Melbourne.
"Ania Walwicz' world is as clear and as fresh as earliest childhood memories. Everything - a glowing red cherry or a cut finger is actively apprehended in her rhythmic prose clusters.
shimmering with energy as bright jewels of identity. In a literary fauvism, her travels through 'cool' perceptions of her native Poland to 'hot' perceptions of Australia, illuminate hunger, conflict, ambition, anger and the need to state oneself as integral within the world. Walwicz successfully weds stylistic sophistication to a sense of language re-invented as it is discovered.
'Walwicz is a most exciting poet at a time when poetry seems all a bit tame.'—ASPECT
Ania Walwicz came to Australia from Poland in 1963. She attended Art School in Melbourne, where she now lives and paints and writes. She shows regularly at the Arts Projects Gallery, Melbourne. Her writing has appeared extensively in a variety of magazines over the past few years and she enjoys a growing reputation as a reader of her own work, both on radio & in public. This is her first book."
Ania Walwicz (1951—2020) was an Australian poet, playwright, prose writer, philosopher and visual artist. Walwicz’ works explore complex political, social, cultural and personal issues, with surrealism, dream narratives, and psychoanalysis as some of her many influences. Walwicz states—‘[i]t appears that I am producing this dismembered language, but in fact I am producing language which is actual and closer to the actual process of feeling and thinking. My motto is: notation and enactment of states of feeling/being’ Many of her prose poems in the collections Writing (1982), Boat (1989), Elegant (2013) and Palace of Culture (2014), for example, address questions of identity. As a Polish immigrant to Australia in 1963 (aged 12), Walwicz frequently touches on themes of alienation, subordination, dislocation and loss of language.
Very Good copy with some cover damage from sticker and light tanning. Signed by Ania Walwicz w. dedication to title page.
1984—1986, English
Softcover (staple-bound), each 52-56 pages, 31.5 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
A.T.O.M. / Carlton
$60.00 - In stock -
Lot of 4 early 1980's issues of Metro, Australia’s oldest film and media periodical. Founded in 1964 Metro is devoted to critical discourse on Australian screen culture. Includes Issue No. 63 (1984), Issue No. 64 (1984), Issue No. 65 (1984), Issue No. 69 (Autumn 1986), in the old over-sized, stapled format with excellent cover graphics and heavily illustrated throughout. With the subtitle "Media and Education Magazine", Metro was published at the time by the Australian Teachers of Media (A.T.O.M.) with assistance from the Australian Film Commission. Each issue packed with content on Australian film, video art, music videos, film history, film theory, film teaching, film industry, reviews, etc. School kids to Skinheads.
All VG, only light wear.
2025, English
Softcover, 16 silk-screened pages, 14 x 16 cm
Edition of 30,
Published by
Self-Published / Naarm
$70.00 - In stock -
"'Insect Smut' is a small edition graphic zine made up of 14 collages. These are made by abstracting references from my personal archive of smut, kink, and comics. It's a homage to the vibrant scene of French graphic zines in the 1980's to 90's. Printed and bound at Troppo Print Studio over a three week period."—Oriette Wood
Silkscreened edition of 30
1957, English
Hardcover (w. dust jacket), 506 pages, 20.5 x 14.5 cm
1st Edition, Out of print title / used / good
Published by
Weidenfeld & Nicholson / London
$45.00 - In stock -
First 1957 hardcover edition of William Fifield's first novel, The Devil's Marchioness, published by Weidenfeld & Nicolson, London, with evocative period jacket design by the remarkable Australian artist and stage designer Loudon Sainthill.
This novel is based on the life of one of history's most evil women, Madeleine d'Aubray, Marquise de Brinvilliers. The scene is France in the reign of Louis XIV—an era of intrigue, gambling, adultery and violence as well as of military glory and artistic achievement. Madeleine was a child of her time; beautiful, passionate and—above all-strong willed. She allowed nothing to interfere with her desires and no man was able to subdue her, though many tried. Her husband, a weak and effeminate son of a famous family and a reckless, unlucky gambler, was wax in her hands. Her father, the incorruptible Civil Lieutenant of Paris and her two brothers were quickly entangled in schemes fatal to their position and honour.
Her first lover, the sinister Godin de Sainte-Croix was a gambler, trafficker in poisons and worshipper at black masses where the naked body of a young woman was used as an altar. He persuaded his mistress to try out one of his poisons on an old woman, chosen at random from the teeming mass of poor patients in a Paris hospital. This started her down the path that was to lead her to the dungeons of the Conciergerie prison, the rack, the water torture and the scaffold. William Fifield's narrative, based on Madeleine's own papers and on other contemporary sources, brings the scenes and characters vividly to life. While some readers may be shocked by its frankness, few will put it down until they have followed Madeleine to the end of her terrible journey.
William Fifield was born in Chicago in 1916 and started selling short stories, articles and radio scripts while he was still at college. He is married and now lives in France.
Good—Very Good copy, well-preserved with some wear and mild chipping to DJ extremities, toning, foxing to book block edges and preliminaries.
1983, English
Softcover, 104 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Art & Text / Prahran
$45.00 - In stock -
ART & TEXT 10
Winter 1982
Edited by Paul Taylor
CONTENTS :
The End of Civilisation Part 2: Love Among The Ruins by Vivienne Shark LeWitt
Fear of Texture by Imants Tillers
Items On The Menu by Paul Taylor
Presence and Absence: The Gallery As Other Place by Bruce Adams
Demolition Man by Ted Colless and Paul Foss
The Strip Laid Bare: Unevenly by Mick Carter
Put Youryoney Where Your Mouth Is by David James and Dave Sargent
Chameleon by John Davies
Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.
Very Good - general mild wear.
1982, English
Softcover, 96 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Art & Text / Prahran
$45.00 - In stock -
ART & TEXT 5
Autumn 1982
Edited by Paul Taylor
Contents:
"Self and Theatricality : Samuel Beckett and Vito Acconci" by Paul Taylor
"Beyond Beckett: Reckless Writing and the Concept of the Avant-Garde within Post-Modern Literature" by Nicholas Zurbrugg
"Dr. Spitzner’s Scrapbook" by Zerox Dreamflesh
"Literal Cloth: Elizabeth Paterson’s Masquerades" by Suzanne Spunner
"Musical Perception and Exploratory Music" by Warren Burt
"On Animism in Art" by Jenny Zimmer
"The 1979 Biennale ― ‘European Dialogue’" by Nick Waterlow
"Rebels and Precursors by Richard Haese and Murray/Murundi by Bonita Ely" by Jill Graham
"On Photo-Discourse" by George Alexander
Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.
Good - general wea, some rippling to bottom corner.
2005, English
Softcover, 268 pages, 20.5 x 13.5 cm
Dedication from author,
1st Edition, Out of print title / used / very good
Published by
MirrorDance Books / Parramatta
$35.00 - In stock -
Rare copy of this long out-of-print 2005 collection of award-winning stories from one of Australia's most celebrated writers of the fantastic. Epic, ethereal and earthy; stories of strong and funny characters, full of human foibles; stories about ideas. Stories that walk you to the edge of the comfortable world and set your feet along the invisible line. Smart and compelling, inventive and challenging, this is speculative fiction at its very best.
Take a walk with a master story teller; your world won't be the same when you next open your eyes.
"A remarkable fusion of form and content, and an amazingly sure-footed journey along the very edge of uncertainty."—Peter McNamara
"... accomplished, moving, highly charged and thoroughly enjoyable."—Aurealis
Signed by author with dedication to title page. VG copy with mild corner wear.