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:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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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.
2021, English
Hardcover, 172 pages, 23.5 x 23.5 cm
Ed. of 500,
Published by
M.33 / Melbourne
$70.00 - Out of stock
Published in an edition of 500 and quickly out-of-print, Small Business is a companion volume to David Wadelton’s long out-of-print classic Suburban Baroque — with the focus this time on work rather than domestic spaces.
Designed once again by Yanni Florence and with an accompanying essay by Professor Natalie King OAM, Small Business looks at the small but enduring family-run businesses that are fading away, often tucked away on suburban streets. David Wadelton has gathered a considerable photographic archive of these interiors from all over Melbourne and regional Victoria over the last ten years with a couple of side excursions to iconic interstate locations.
Many of the businesses have traded for decades, and continue to do so even as multi-storey developments and multi-nationals overshadow or consume them. One third of the shops featured in the book have already closed since they were photographed. Many of the interiors depicted are family businesses started by post-war migrants who came to Australia to start a new life and in so doing enriched and transformed our culture. The layouts featured are often pragmatic and utilitarian, arranged decades ago – often without regard for conventional design trends – and left that way. Some were on trend in their day but now look like museum settings. Still others fall on a wide spectrum from spartan, all the way to a tangled disorder that makes sense only to the proprietor. Whatever form taken they are a time-capsule of a generation who toiled in their shop for decades.
This collection is an ode to the overlooked, the obsolete – to those who march to a different drum.
Published in an edition of 500. Out-of-print.
2022, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Ed. of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Empty Shops, 2013-2018 is a 16 page zine of 16 black and white photographs by David Wadelton, the sixth in a series of six artist zines published by Light of Day Books, Melbourne, 2022, in an edition of 50 copies.
David Wadelton’s work is at once a form of archaeological recording and a love letter to Melbourne. His photographs of our city are part celebration, part salvage operation. They are in this, a vital contribution to our civic record and our artistic endeavour.
Wadelton’s work stands proudly in a long line of photographers who have recorded urban architecture with enormous dedication and purpose: historical figures such as Charles Marville and Eugène Atget, Walker Evans and Bern and Hiller Becher. However, Wadelton is perhaps not as clinical and classical in his describing of the built world as these forebears each of whom, more or less, aspired to be a Vitruvius of the vernacular. Wadelton takes all of these measures on board and adds a hint of a more playful meta-photographic element via his longstanding appreciation of the marvellously inventive Lee Friedlander and the equally intrepid Stephen Shore, and the so daft as to be cool and conceptual recording of Melbourne’s own, Robert Rooney. Tellingly, Wadelton’s seemingly neutral records are recognisable, personal signature records that are accessible to all.
Wadelton’s photographs are brimming with information and life. The photographs are not pointing out a world of lowbrow leftovers but instead, celebrate a peculiarly suburban milieu recorded in its fast-fading glory. Full of detail and content rich, his work is deeply generous.
— Patrick Pound 2022
2022, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Ed. of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
Brunswick Street, 1981 is a 16 page zine of 16 black and white photographs by Craig McGee, the fifth in a series of six artist zines published by Light of Day Books, Melbourne, 2022, in an edition of 50 copies.
These images of Brunswick Street, Fitzroy, Melbourne were taken by Craig McGee in the early 1980s when that street had a very different feel to what it has today. McGee called the series The Silent Shops. McGee notes: “There never seemed to be anybody around. Shop doors were often half open and the view inside was often dark and uninviting. They were mostly used by small businesses associated with the rag trade - back when Melbourne had manufacturing industries. The shops were very dilapidated but held the charm of when Fitzroy was a busy working-class suburb”.
For over 40 years McGee has been taking photographs of places that are generally considered unsightly, the outer suburban wastelands, shopping malls, caryards, dirty industry, and the people who live amongst these backdrops. He studied photography at Prahran College, graduating in1981. His work has been exhibited at; Australian Centre for Photography, Sydney; Adelaide Centre for Photography, Adelaide; National Gallery of Australia, Canberra, ACCA, Melbourne; and is in the collections of the National Gallery of Australia, Canberra and NGV, Melbourne.
2022, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Ed. of 50,
Published by
Light of Day Books / Melbourne
$10.00 - In stock -
THE BOYS, 2005–2007 is a 16 page zine of 16 black and white photographs by Konrad Winkler, the fourth in a series of six artist zines published by Light of Day Books, Melbourne, 2022, in an edition of 50 copies.
This series of photographs is from an exhibition at Until Never Gallery in Hosier Lane in Melbourne in 2007. The Boys are artists and writers who dedicated their lives to their passion, art of one kind or another. They didn’t make great careers or a lot of money, but they are the believers, whose lives were determined by this choice earlier in their lives, sometimes with detrimental effects. Portraits without the usual props of studios and easels. Just their heads, and more telling of themselves for that reason.
Konrad Winkler is a Melbourne photographer who has been exhibiting in commercial and public galleries since 1995. Born in Angaston, South Australia in 1948 he studied at Melbourne and New England universities before working in the Northern Territory as a teacher, and later as photographer and graphic artist with the Commonwealth Teaching Service.
His work is often intensely personal, but with a sense of humour to undercut any elements of self importance or maudlin feeling. He has photographed a number of people in extremis, i.e., the artist Julie Goodwin in the depths of postnatal depression, struggling to cope with her career and motherhood. The large photographs of his mother in law, Leila Guymer after the death of her husband are shot on bright, colour saturated Kodak film to show her sense of style and energy and perhaps make the point that death is not the end.
2022, English
Softcover (staple-bound), 16 pages, 29.7 x 21 cm
Edition of 50,
Published by
Light of Day Books / Melbourne
$10.00 - Out of stock
The fish and chip town, Eden/Yuin country 2008-2014 is a 16 page zine of 16 black and white photographs by Ruth Maddison, the third in a series of six artist zines published by Light of Day Books, Melbourne, 2022.
"The fish and chip town, Eden/Yuin country 2008-2014 combines two separate projects. Fishing and timber, both contentious industries, have underpinned the economy of Eden for decades. In a small coastal town of approximately 3,000 people, employment is a complex issue. Rent, food, mortgages, cars, kids, education all must be dealt with. Both industries have been largely cut back for the benefit of the planet since I made these works. But there are downsides for the whole town.
I shot the commercial fishermen portraits on a medium format camera using black & film. The original timber worker images are colour digital files. All the original text was printed but I chose to handwrite for the zine. It’s more intimate."
Ruth Maddison has been documenting domestic, working, and recreational lives since 1976. Her first solo exhibition was in 1979. Since moving from Melbourne to Eden in 1996 her work has expanded to include moving image, large scale prints on fabric, objects in vitrines and early cameraless photography. Her most recent solo exhibition, a large survey show and a new body of work, was in 2021 at Melbourne’s Centre for Contemporary Photography.
2022, 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 -
Waste, c.1995 -2005 is a 16 page zine of 16 black and white photographs by Stephen Bram and Andrew Hurle, the second in a series of six artist zines published by Light of Day Books, Melbourne, 2022.
The bottle bongs shown in Waste were collected during walks we took with our dogs Bea and Harry through marginal areas of parks, by rivers and creeks and through abandoned industrial areas in Melbourne; places which offered some seclusion and refuge and gave some license, however temporary and conditional, to simply be.
Stephen Bram's works in various media in relation to points in space (perspective paintings, objects, environments, prints) have been exhibited in a variety of contexts since 1987. Recently, exhibitions of or from other bodies of work have been held at Guzzler (Unstable Painting, 1991), Conners Conners, and Anna Schwartz Gallery.
Andrew Hurle is an independent artist and researcher born in Australia who now lives and works in Berlin, Germany.
2022, 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 -
Life Drawing, 2022, a 16 page zine of 16 black and white photographs by Janina Green, the first in a series of six artist zines published by Light of Day Books, Melbourne, 2022.
Janina Green, the daughter of Ukrainians, was born in a displaced persons camp in Germany in 1944. Her family migrated to Gippsland, Victoria in 1949 and she spent her childhood in the small country town of Yallourn North. For twenty years she worked as a secondary school art and crafts teacher. She received a Diploma of Printmaking from the Royal Melbourne Institute of Technology and pursued further studies in fine arts at Melbourne University. J. Green is also an influential photography teacher, lecturing at the Victorian College of the Arts, Melbourne University.
J. Green has been practising photography since the 1980s. Her series ‘Reproduction’ (1986) and ‘Vacuum’ (1993) have made significant contributions to feminist enquiry and photographic innovation. Her constructed, delicately hand-coloured silver gelatin prints place the female body centre stage, inviting the viewer into a critical dialogue about societal roles and gendered performance. Whether it is the bittersweet passing of time expressed in the portrait series of her daughters’ teenage friends, the enduring beauty of unfurling roses, or the loneliness of a country road at night, J. Green’s photographs express the emotional drama underlying everyday moments. By highlighting the complex psychological relationship of the home and the subtle differences between a mother or child’s vision, her photographs draw attention to voices and perspectives underrepresented in art history. Grounded in the beauty of the domestic, she prioritises the perspective of the woman as artist.
Her first exhibition ‘Reproduction’ in 1986 at Artist Space Gallery (Melbourne), reprised in 1987 at the Australian Centre for Photography (Sydney), was pivotal for her career. The National Gallery of Australia in Canberra acquired three works, and the shows’ success allowed her to purchase a large format camera which became central to her practice. The National Gallery of Australia hold works from several exhibitions including ‘Still Life’ (1988), ‘Reproduction’ (1986), and ‘Maid in Hong Kong’ (2009). In 1993 the exhibition ‘Vacuum’ toured nationally. ‘Dark Matters: Selected Photographs by Janina Green’, Centre for Contemporary Photography, Melbourne (2016) and ‘Janina Green in Conversation with the Collection’, Castlemaine Art Museum, Victoria (2019-2021) confirm J. Green’s ongoing significance as a feminist photographer.
— Emily Donehue
(https://awarewomenartists.com/en/artiste/janina-green/)
1997, English
Hardcover (w. dust jacket), 830 pages
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$80.00 - Out of stock
First English edition of this monumental 830 page book for documenta X, the last documenta of the twentieth century and the first directed by a woman, the French curator Catherine David, brings together the work of more than 100 of the world's foremost thinkers, writers, and artists in an extraordinary anthology of seminal texts and images of, on, and about the development of Western cultural and critical theory since 1945.
The book "seeks to indicate a political context for the interpretation of artistic activities at the close of the twentieth century, through a montage of images and documents from the immediate post-war period to the present. The range of material treated here is not encyclopaedic; it represents a polemical attempt to isolate specific strands of artistic production and political endeavour which can be taken as references in the contemporary debate over the evolution of our societies. Drawing from distinct yet interrelated territorial and linguistic domains, the book singles out complex cultural responses to the unifying processes of global modernity."—from the book jacket.
A comprehensive work in itself, rich with enmeshed texts and illustrations of artworks, film stills, historical documents throughout in colour and in black and white.
Writers include: Theodor W. Adorno, Maurice Blanchot, Pier Paolo Pasolini, Paul Celan, Amílcar Cabral, Masao Miyoshi, Hannah Arendt, Michel Foucault, Gilles Deleuze, Félix Guattari, Jacques Rancière, Tadao Sato, Youssef Ishaghpour, Josef Beuys, Samuel Beckett, Albert Camus, Rainer Werner Fassbinder, Rem Koolhaas, Sandra Álvarez de Toledo, Witold Gombrowicz, Herve Joubert-Laurencin, Jean-François Chevrier, Marguerite Duras, Edward Said, Henri Alleg, Pierre Vidal-Naquet, Uwe Johnson, Jerzy Grotowski, James Clifford, Primo Levi, Pierre Clastres, Andrea Branzi, Fabrizio Gallanti, Gérard Chaliand, Stig Björkman, Daniel Defert, Saskia Sassen, Catherine David, Benjamin Buchloh, Paul Virilio, Serge Daney, Étienne Balibar, Nadia Tazi, and many others.....
Artists include : Archigram, Martin Kippenberger, Archizoom Associati, Art & Language, Hans Haacke, Oyvind Fahlström, Samuel Beckett, Franz West, Andrea Zittel, Heimo Zobernig, Nancy Spero, Jean-Luc Godard, Marcel Broodthaers, Lygia Clark, Jörg Herold, Fischli & Weiss, Dan Graham, Robert Adams, Peter Friedl, Paweł Althamer, Liam Gillick, Mike Kelley & Tony Oursler & Diedrich Diederichsen, Stan Douglas, Harun Farocki, Ed van der Elsken, Walker Evans, Aldo van Eyck, Heiner Goebbels, William Kentridge, Ulrike Grossarth, Richard Hamilton, Vito Acconci, Raymond Hains, Pier Paolo Pasolini, Siobhán Hapaska, Ecke Bonk, Carsten Höller & Rosemarie Trockel, Carl Michael von Hausswolff, Lois Weinberger, Hélio Oiticica, Gabriel Orozco, Olaf Nicolai, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Marc Pataut, Gordon Matta-Clark, Christian Philipp Müller, Matt Mullican, Antoni Muntadas, Jean-Luc Moulène, Reinhard Mucha, Álvaro Siza, Toyo Ito, John C. Portman Jr., Paulo Mendes da Rocha, Mariella Mosler, Josef Beuys, Steve McQueen, Chris Marker, Lothar Baumgarten, Jean Dubuffet, Kerry James Marshall, Maria Lassnig, Rem Koolhaas, Joachim Koester, Suzanne Lafont, Sigalit Landau, Helen Levitt, Garry Winogrand, Brassaï, Le Corbusier, Antonin Artaud, and so many more...
Very Good coy, light wear. Good dust jacket with some creasing and edge wear.
2022, English
Softcover, 250 pages, 27.5 x 21 cm
Ed. of 100,
Published by
Cupboard / Melbourne
$100.00 - Out of stock
Issue one of Cupboard, a fashion magazine. This 250 page inaugral issue, "Bedroom Dressups", features Anabel's Drawings by Anabel Robinson; Anthems of a Seventeen Year Old Girl by Chloe Hagger and Anabel Robinson; Costumes for Grown Ups by Jasmine Nelson; Tramp Persona by Chloe Hagger; Storyboard: Dreamworks by Rowan Oliver and Katherine Botten; Whats a Party Girl to do? by AbeIla D'Adamo and Chloe Hagger; Bedroom Dressups by Chloe Hagger; Sara Mikorey #1; Flash Photography by Chloe Hagger; Wandering Heavenly Dead Gram a Tonne by Nicholas Curtis and Zoe Jackson; Overworked and Underlooked by Chloe Nagger; Sara Mikorey #2; La Mer by Mack; An Interview with J.T. Le Roy and Speedy by Chloe Hagger; Beauty Looks for Thursday Rags by Olive; Nostalgia in the Fallen World by Ursula Cornelia de Leeuw; Crossword by Brayden van Meurs
Introduction by Yuval Rosinger. Design by Ned Shannon.
Published in an edition of 100 copies.
1991, English
Softcover (staple-bound), 12 pages, 24 x 17 cm
1st Edition, Out of print title / used / very good
Published by
The Edmonton Art Gallery / Alberta
$35.00 - In stock -
Rare catalogue published in 1991 on the occasion of the exhibition, Liz Magor — Living in the Wild, Wild West, at The Edmonton Art Gallery, Alberta, Canada. Featuring a text written for the exhibition by Jennifer Fisher, illustrations of Magor's exhibited works, biographies, and list of works.
Liz Magor (b. 1948) is one of the most important Canadian artists of her generation, and certainly its most influential sculptor of the past 30 years. For more than four decades, Liz Magor’s practice has quietly dramatized the relationships that develop among objects, and she describes this body of work as “a collection of tiny and intense narratives.” From the mental and physical contexts of retail consumerism to the spaces of the museum to the private, interior worlds of addiction and desire, Magor’s oeuvre has consistently combined a high level of conceptual and procedural rigor with the intense investigation of materials and mediums. Magor’s oeuvre has consistently combined a high level of conceptual and procedural rigor—extraordinary in its tendency to meld multiple references to cultures of display, compulsion, and consumption, making her one intriguing conceptual artists of her generation.
Very Good copy.
2022, English
Softcover, 300 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - In stock -
What is it like to make art the way the world is today? What is it to write about art? Every review you read in 2022 will attempt to answer these questions, whether it knows it or not. You can see it if you look hard enough. And in thinking about this we perhaps hold a candle to the darkness, or perhaps these questions are the light that allows us to see the darkness around us. Thank you for reading Memo lit by the world’s candlelight.
These are the reviews from 2021, the fourth year of Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
Featuring contributions by A. D. S. Donaldson, Adelle Mills, Amelia Winata, Amy May Stuart, Anna Parlane, Audrey Schmidt, Babs Rapeport, Cameron Hurst, Chelsea Hopper, David Wlazlo, Diego Ramírez, Francis Plagne, Giles Fielke, Hilary Thurlow, Jarrod Zlatic, Léuli Eshrāghi, Luke Smythe, Matt Marasco, Michelle Guo, Miriam La Rosa, Paris Lettau, Philip Brophy, Rex Butler Sofia Skobeleva, Tara Heffernan, Tara Mcdowell, Timmah Ball, Ursula Cornelia De Leeuw, Victoria Perin, and Vincent Le.
2008, English
Softcover, 132 pages, 15 x 21 cm
Ed of 1000,
Published by
Museo Tamayo Arte contemporáneo / Mexico City
Dundee Contemporary Arts / Dundee
Lunds Konsthall / Sweden
$39.00 - Out of stock
Ellipsis features photography, film and video from the 1970s and the early 1980s by Chantal Akerman (b. 1950), Lili Dujourie (b. 1941) and Francesca Woodman (1958–81). This is the first joint exhibition of their work, curated by Lynne Cooke, Chief Curator at Dia Center for the Arts in New York. Gorgeous catalogue published to accompany the exhibition held at Lunds Konsthall, 9 February – 13 April 2008 and Dundee Contemporary Arts, 23 April – 22 June 2008, co-published with Museo Tamayo Arte Contempor´neo, Mexico. Illustrated throughout with works by all artists alongside texts by Jan Avgikos, Lynne Cooke, Ramiro Martinez, Åso Nacking and Judith Winter.
Lynne Cooke writes: Although born ten years apart and in very different circumstances, the three artists featured in this exhibition each profited from the turn to still photography, and other lens-based technologies – film, slide projection and the newer medium of video – that dominated vanguard art practice in the late 1960s. Taking themselves – their bodies and their immediate circumstances – as their point of departure, during the 1970s all three made performative work for the camera. Tellingly, the sites they favored were mostly their own studios or domestic interiors. Beyond this quite evident concurrence of interest in the self as both artist and model, as subject and object of the gaze, there runs a deeper if more elusive thread that links their art from this period. Less a mood than a state of being, or frame of mind, its content could be described in existential terms as the estranged relation of the female subject to her world; in the terminology of current critical discourse, their abiding preoccupations centered on the construction and representation of identity.
The words Hommage à followed by an ellipsis (…) form the title of the first five of the seventeen videos Lili Dujourie produced between 1972 and 1981. Numerous names come to mind to complete this phrase, among them the Italian filmmaker Michelangelo Antonioni. Of particular interest to this exhibition is the proposal of a relation between the artworks of Akerman, Dujourie and Woodman and the films of Antonioni. The fragility and precariousness of his principal characters is evidenced in the ways in which their identities seem to split, double or dissipate so that each becomes unable to find coherence in a shifting amorphous world, and so verges on alienation. Through a signature language centered in an innovative treatment of space and time, Antonioni forged new formal and conceptual means to explore the identities of his subjects, means which resonate tellingly in the works of these three artists.
1989, English
Softcover, 144 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Art & Text / Prahran
$45.00 - Out of stock
ART & TEXT 32
AUTUMN 1989
Edited by Paul Foss
CONTENTS:
David Wills — Deposition: Introduction To "Right Of Inspection" [Droit De Regards]
Marie-Francoise Plissart and Jacques Derrida — Right Of Inspection
David Bennett — Art And Rubbish: Contemporary British Colour Photography
Paul Gilroy — Cruciality And The Frog's Perspective: An Agenda Of Difficulties For The Black Arts Movement In Britain
Art &c.
Allen S. Weiss — Golem In Gotham
Mark S. Roberts — Lyotard And Art "After Auschwitz"
Therese Lichtenstein — Boltanski's "Lessons Of Darkness"
Therese Lichtenstein — Aborigines, Representation, Necrophilia John Von Sturmer
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.
1987, English
Softcover, 104 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Art & Text / Prahran
$45.00 - Out of stock
ART & TEXT 25
JUNE / AUGUST 1987
Edited by Paul Foss
CONTENTS:
Terry Smith — Black Swan in the City ... Detroit, first week of August, 1986
Christina Thompson — A Piece of Savage Mischief
Meaghan Morris — Tooth and Claw: Tales of Survival, and Crocodile Dundee
Merryn Gates — Transparency and Reinvention 70 in Rosslynd Piggott.
Eric Michaels — My Essay on Postmodernism
George Alexander — Get Back, Martin Sharp
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.
2020, English
Softcover, 241 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - In stock -
These are the reviews from 2018, the second year of Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
As readers engage with this second year of reviews, they might see a group of art writers coming to grips with the particular limitations and opportunities of the weekly review format and even the particularities of its online delivery. Some will track the successive mentions of the same artist or gallery space, seeing what different writers make of them. Others will follow the progress of individual writers, finding and developing their own style and argument.
Contributions by Amelia Winata, Anna Parlane, Audrey Schmidt, Benison Kilby, Chelsea Hopper, David Wlazlo, Eva Birch, Francis Plagne, Giles Fielke, Helen Hughes, Hester Lyon, Jane Eckett, Kate Warren, Nicholas Tammens, Paris Lettau, Philip Brophy, Rex Butler, Shelley Mcspedden, Sophie Knezic, Tiarney Miekus, Tim Alves, Victoria Perin.
2020, English
Softcover, 241 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - In stock -
The third hardcopy Memo publication, collecting the 52 reviews from 2017 published by Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
Contributions by Amelia Winata, Aneta Trajkoski, Anna Parlane, Audrey Schmidt, Brendan Casey, Chelsea Hopper, David Homewood, David Wlazlo, Ella Cattach, Elyssia Bugg, Francis Plagne, Giles Fielke, Helen O'toole, Jane Eckett, Luke Smythe, Maddee Clark, Marnie Edmiston, Matthew Linde, Paris Lettau, Philip Brophy, Rex Butler, Sophie Knezic, Stephen Palmer, Victoria Perin.
2020, English
Softcover, 269 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - Out of stock
These are the reviews from 2020, the third year of Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
"There is no getting around it: 2020 was the year of COVID. It was something that all kinds of cultural activities tried to make sense of. We could quote, to show it has all apparently happened before, Daniel Defoe’s A Journal of the Plague Year at you. Or, like everybody else, you could read some prominent philosopher or cultural theorist try to make sense of it. Slavoj Žižek wrote no fewer than two books on the subject during the year, which made us realise that at least he was doing what he usually does during lockdown."
"And we for our part at Memo Review also did what we usually do. Here are the forty-seven reviews we published during the year—a year when virtually every show we reviewed was only available online."
Contributions by Amelia Wallin, Amelia Winata, Amy May Stuart, Anna Parlane, Audrey Schmidt, Benison Kilby, Bianca Winataputri, Cameron Hurst, Chelsea Hopper, David Wlazlo, Giles Fielke, Helen Hughes, Hester Lyon, Jane Eckett, Kate Meakin, Levi Mclean, Lisa Radford, Luke Smythe, Paris Lettau, Philip Brophy, Rex Butler, Robert Schubert, Sarinah Masukor, Tara Heffernan, Victoria Perin, Vincent Le.
1985, English
Softcover (staple-bound), 62 pages, 30 x 21.5 cm
1st Edition, Out of print title / used / average
Published by
CROWD / Melbourne
$35.00 - Out of stock
Scarce copy of the February 1985 issue of Melbourne's CROWD magazine, committed to "Fashion Music Style", published in Melbourne with heavy ties to Tokyo. With cover photographed by Rozalind Drummond, this issue, "The Parade Issue", includes features on "Fashion '84" (major Melbourne fashion parade presenting 32 Australian designers), "The Third Wave" a feature on Tokyo designers, "London Goes To Tokyo", "Tokyo International Collections" (Comme, Gaultier, Katharine Hamnett), an interview with PiL's John Lydon, Australian designer Marc Newson, British milliner Stephen Jones, interview with Sade Adu, fashion designer Reva Manicavasagar, Nick Lowe, fashion shoots, hair styling, films, records, social pages, clubs, clubs, clubs, fstreet fashion, great Melbourne advertisements, and more!
Good copy with wear and marking to covers, edges. Rippling to front cover.
1984, English
Softcover (staple-bound), 46 pages, 30 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
CROWD / Melbourne
$35.00 - Out of stock
Scarce copy of the November 1984 issue of Melbourne's CROWD magazine, committed to "Fashion Music Style", published in Melbourne with heavy ties to Tokyo. With cover (Yohji Yamamoto) by photographer Polly Borland, this issue opens with Street Fashion and includes an exclusive interview with Andy Warhol via Keith Haring, an interview with Divine, interview with Howard Jones, Berlin (with photography by Rozalind Drummond), Polly Borland interview, The Cure, Machinations, Australian fashion designer Kara Baker's Sirens clothing label, Japanese fashion designer Koshin Satoh's ARRSTON VOLAJU clothing label (designer for Miles Davis), fashion shoots, hair styling, films, records, social pages, clubs, clubs, clubs, fashion parade reviews, great Melbourne advertisements, and more!
Good copy with wear and marking to covers, edges.
2021, English
Hardcover, 424 pages w. 16 page insert, 15.4 x 23 cm
Published by
Perimeter Editions / Melbourne
$59.00 - Out of stock
Installation View offers a significant new account of photography in Australia, told through its most important exhibitions and modes of collection and display. From colonial records to contemporary art, the book presents a chronology of rarely seen installation views from both well-known and forgotten exhibitions, along with a series of essays that tell the story of the individuals and institutions that have proved intrinsic to the public circulation of photographs. At once specific and widely contextual in its scope, this longterm research project from two of Australia’s leading academics and educators in the field enriches our understanding of the diversity of Australian photography by looking at what lies beyond the frame. Installation View speaks not only to pictures, but to the people and the places that nurture them.
1973, English
Softcover, 96 pages, 18 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Sun Books / Melbourne
$80.00 - Out of stock
First printing from 1973 of this photo-book dedicated entirely to the streets of the suburb of Carlton, Melbourne, by Australian photographer Les Gray (1920 - 2013). With an introduction by poet Garrie Hutchison (b. 1949) titled "Canning Street, Carlton, August 1973", this handsome little landscape album of snapshots captures the people, terraces, and shopfronts of early 1970s Drummond, Rathdowne, Cardigan, Faraday, Lygon, Gratton, Station, Canning, and Elgin streets. Published by Sun Books.
Very Good copy.
2021, English
Hard slipcase containing ten volumes, each 16 pages, signed and numbered box, 30.5 x 21.5 cm
Ed. of 25, signed and numbered,
Published by
Self-Published / Melbourne
$90.00 - Out of stock
Slipcase edition of Trees and Fences, published as a limited edition artist zine, in ten volumes, each 16 pages, 16 photographs per volume, 160 photographs in total. This complete slipcase edition collects all ten volumes in a limited edition of 25 copies, each box numbered and signed by the artist.
Highly recommended!
Yanni Florence (b. 1965, Melbourne, Australia) co-founded, edited and designed the seminal art publication Pataphysics Magazine (1989). He completed a Bachelor of Architecture at Royal Melbourne Institute of Technology (1997). Yanni has been making and publishing photographs since 1990. His monographs comprise thoughtfully nuanced and sequenced selections of images. Yanni’s work has been included in several group exhibitions, including Melbourne Now in 2013. His first solo exhibition, Tram Windows, was held at ReadingRoom in 2019.
There are seven published books of his photographs: Self Conscious (2009), Southland (2014), Animal Life (2014), Street Porn (2014), Immolation (2015), HE IS IN THE CITY (2017) and Tram Windows (2019).
2014, English
Hardcover, 56 pages, 29 x 21 cm
Ed. of 50,
Published by
M.33 / Melbourne
$35.00 - In stock -
Forty six photographs by Yanni Florence that in the city light and streets captures the animal figure and print in fashion and the bodies that inhabit it. Accompanying essay by Archeologist Grey Deftereos. Hard back bound book with animal print end papers.
“All this pertains to the perception that appearance reflects upon the wearer, their state of mind, their perception of self and how they are choosing to present themselves to others. Clothes are like sentences in a language and what they communicate is a large part of the performance of self within a larger syntax. With animal prints the wearer conflates the aspects of the totem with the self, or the self they are at that time performing. They, in a sense, become the embodiment of the animal, or at least that reading is there for others to make. Wearing animal prints is also, tacitly, a kind of animism, the belief that the spirit of animals and living beings are present throughout all time within inanimate objects. Some aspect of wearing animal prints is the conflation of the self with characteristics of the animals portrayed, and most often – aside say, from the portrayal of kittens, (but then again) - this is sexual.” Greg Deftereos, How to Wear Animal Prints.
Published by M.33 (Melbourne) in a signed edition of 50 copies.
2015, English
Hardcover, 28 pages, 29.7 x 26 cm
Ed. of 5,
1st Edition, Out of print title / as new
Published by
M.33 / Melbourne
$300.00 - Out of stock
Immolation is a book of photographs by Yanni Florence of people on fire. Not in flames running down the street screaming, but quietly burning. There is smoke coming from a man seen from behind as he waits to cross the road at the traffic lights. It looks like he is on fire. Self-combusting. Slowly burning up from the inside. He and others in this book are giving off smoke signals. The book is a studied selection of nineteen photographs from hundreds of photographs that were taken to decipher these signals.
This is a copy of the very rare special edition of only 5 copies: over-sized hardbound photographic inkjet prints on cotton rag paper, 297 x 260 cm, numbered and signed by Florence.
Yanni Florence is an Australian based photographer and award-winning book designer. He has been involved in the design and publishing of numerous publications in the art world for public art museums, cultural institutions, private collectors and artists. He was cofounder of the seminal publication Pataphysics Magazine, which he now runs as guest posts on his blog of mainly vernacular photography that he collects. Other books of Yanni’s photographs include Self-conscious (Skoob 2009), Animal Life (M.33, 2014), Street Porn (M.33, 2014) and Southland (M.33, 2014).