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.
2020, English
Hardcover, 286 pages, 27.5 x 21 cm
Published by
NGV (National Gallery of Victoria) / Victoria
$69.00 - Out of stock
Australian artist Destiny Deacon, a Kuku and Erub/Mer (North-East Cape York and Torres Strait) woman, is known for having coined the term ‘blak’, in a reclaiming and recasting of a word with myriad connotations of colonialism and prejudice. Her work sits in the uncomfortable but compelling space between comedy and tragedy. Working across photography, video, printmaking, mixed media and installation, Deacon interrogates the way in which Aboriginal people have been, and continue to be, misrepresented within popular culture.
This publication, edited by Myles Russell-Cook, Curator, Indigenous Art at the NGV and curator of the exhibition DESTINY, is the largest in-depth study of Deacon’s practice ever to appear in book form. Through all-blak scholarship and images of Deacon’s work spanning more than thirty years, we gain a strong sense of Deacon as artist and person, and of her enduring fascination with the human condition.
2005, English
Hardcover (w. dust jacket), 504 pages, 26 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Scalo Publishers / Zürich
Art Gallery of New South Wales / Sydney
$450.00 - Out of stock
First edition of the major 500-plus page, highly collectible mid-career survey book on Australian photographer Bill Henson, "Mnemosyne", published by Scalo in Zürich on the occasion of the artist’s retrospective at the Art Gallery of New South Wales, Sydney in 2005, which toured to the National Gallery of Victoria, Melbourne, that same year. This comprehensive hardcover volume lavishly reproduces all of Henson's major bodies of work to date, alongside essays by Judy Annear, Jennie Boddington, Edmund Capon, Dennis Cooper, Peter Craven, Isobel Crombie, John Forbes, Michael Heyward, Alwynne Mackie, David Malouf, Bernice Murphy, Peter Schjeldahl, and an interview with Bill Henson by Sebastian Smee.
"Sometimes, but very rarely these days, one can announce a real discovery in contemporary photography — a book that will emphatically place its author on the international map on the same level as such giants of photography as Robert Frank and Nan Goldin. After the international success of Lux et Nox Scalo is proud and excited to announce the definitive mid-life retrospective book on Australian artist Bill Henson. The book combines all groups of work that Henson has created up to the present: from his early Ballet pictures (1974), to his body and nude portraits (1977–1986), from his photographs of street-crowds (1979–1982) to his Baroque Triptychs (1983–84), from his fantastic combinations of pictures taken in the Australian Suburbs and Egypt (1985/86) to his Los Angeles and New York nightscapes (1987–88), from his famous cut-out collages shown at the centenary Venice Biennale in 1995, to the portraits of adolescents and his magical color compositions for the Paris Opera (1990/91), and, most recently, a haunting selection of his images of children adrift in the wilderness of night (1997-2004), many of these appearing for the first time. Bill Henson is a continent in photography to be discovered. This book will be one of Scalo’s major contributions to the understanding of contemporary photography. Published on the occasion of the artist’s retrospective at the Art Gallery of New South Wales, Sydney, opening January 2005 and touring to the National Gallery of Victoria, Melbourne in April." — publisher's blurb
Very Good copy with minor edge and dust jacket wear from light handing/storage.
2020, English
Softcover, 150 pages, 21 x 29.7
Ed. of 100,
Published by
Endless Lonely Planet / Melbourne
$25.00 - In stock -
Melbourne Artist Facilitated Biennial publication by Melbourne artist Christopher LG Hill is both the ninth issue of his ongoing publishing imprint Endless Lonely Planet, and a major survey art book marking the end of his 12 year artist facilitated biennale project, spanning 2008-2020.
"Multiple sites and moments, artist facilitated biennials extending on structures and limitations set by Signs of life: Melbourne International Biennial 1999. Abstracting and bringing new meaning to the form of a biennial as a more casual and independent entity, the project has seen many participants and collaborators over the last 12 years. This book hopes to document some of these moments, but more so to be a catalyst for different modes and models that it may inspire." — publisher
Includes extensive photographic documentation of The (self initiated, Artist funded) second (fourth) Y2K Melbourne Biennial of Art (& Design), TCB art inc., 2008; The First & Final Y3K Second (third) Inaugural Melbourne Biennial of International Arts, Y3K, 2011 (curated by Joshua Petherick, James Deutsher, and Christopher L G Hill); Third/Fourth Melbourne Biennial, Margaret Lawrence Gallery, 2013; 4th/5th Melbourne Artist Facilitated Biennial, TarraWarra Museum of Art, 2016 (as part of TarraWarra Biennial 2016: Endless Circulation curated by Victoria Lynn and Helen Hughes/Discipline); 5th/6th final Melbourne Artist Facilitated Biennial, Dec 2018 -Dec 2020 (co-facilitated by Virginia Overell and Christopher L G Hill in their apartment/ the ex-Telecom building that was the site of the Melbourne International Biennial 1999)
Includes the work of ACW, Liz Allen, Animal Charm, Dan Arps, Sean Bailey, Liv Barrett, Matthew Brown, Ruth Buchannan, Jon Campbell, Jane Caught, Xin Cheng, Fiona Connor, Ying Lan Dann, James Deutsher, Daniel du Bern, Ida Ekblad, ffiXXed, Pat Foster & Jen Berean, Justin K Fuller, Matt Griffin, Ardi Gunawan, Hao Guo, Bianca Hester, Christopher L G Hill, Matt Hinkley, Helen Johnson, Lisa Kelly, Devin Kenny, Taree Mackenzie, Simon McGlinn, Rob Mckenzie, Nick Mangan, Scott Mitchell, Tahi Moore, Kate Newby, Geoff Newton, John Nixon, OSW, Alexander Ouchtomsky, Damon Packard, Spiros Panigriakis, Sean Peoples/ Cheese Peoples, Joshua Petherick, Kain Picken, Janneke Raaphorst, Nick Selenitsch, Christopher Schueler & Matthew Hopkins, Gregory P Sharp, Kate Smith, Sriwhana Spong, Dylan Statham, Masato Takasaka, Ben Tankard, Simon Taylor, Alex Vivian, Annie Wu, Hany Armanious, Andreas Banderas, Mikala Dwyer, Katherine Huang, Tobias Kaspar, Piotr Łakomy, Taree Mackenzie, Tahi Moore, Michael O’Connell, Ester Partegas, Natalie Rognsoy, John Spiteri, Dan Arps, Sean Bailey, Olivia Barrett, Matthew Benjamin, Jon Campbell, Trevelyan Clay, Fiona Connor and Michala Paludan, James Deutsher, DoubleFly, George Egerton-Warburton, Endless Lonely Planet, ffiXXed, Alicia Frankovich, Justin K Fuller, Marco Fusinato, Greatest Hits, Ardi Gunawan, Hao Guo, Christopher L G Hill, Matt Hinkley, David Homewood, Matthew Hopkins, Lou Hubbard, Renee Jaeger, Helen Johnson, Kenneth Biennale (curated by Kenny Pittock and Amy May Stuart: Chris Clarke, Christo Crocker, Christina Hayes, Chris L G Hill, Christine Pittock, Christopher Sciuto), Legendary Hearts (Kieran Hegarty and Andrew Cowie), S.T. Lore, Patrick Lundberg, Carrie McGrath, Rob McKenzie, Taree McKenzie, Nick Mangan, Gian Manik, Kate Meakin, Adelle Mills, Tahi Moore, Kate Newby, Elizabeth Newman, Virginia Overell, Sean Peoples, Joshua Petherick, Kain Picken, Lisa Radford and Sam George, Nick Selenitsch, Kate Smith, Studio Masatotectures, Sydney (Esther Edquist), Masato Takasaka and Madeline Kidd, Ben Tankard, Alex Vivian, Nicki Wynnychuk, y3k, Lauren Burrow, Counterfeitnessfirst, James Deutsher, Laurel Doody, George Egerton-Warburton, ELP3 Vine, Endless Lonely Planet, Lewis Fidock, Aurelia Guo, Christopher L G Hill, Lou Hubbard, Lucina Lane, Kate Meakin, Tahi Moore, Elizabeth Newman, Liam Osborne, Virginia Overell, Joshua Petherick, Lisa Radford, Zac Segbedzi, Nick Selenitsch, Nicholas Tammens, Alex Vivian, Rudi Williams, Gavin Bell, Jarrah de Kuijer and Simon McGlinn, Candida ((Gian Manik and Ricarda Bigolin) in collaboration with Agnieszka Chabros, Samuel Heatley and Jaala Jensen), Xin Cheng, Fiona Connor, Renee Cosgrave, Christo Crocker, Ying Lan Dann, Endless Lonely Planet, Richard Frater, Aurelia Guo, HB Peace, Hoggle, Lou Hubbard, Olivia Koh, Spencer Lai, Laurel Doody Library Supply, Patrick Lundberg, Kate Meakin, Olivia O’Donnell, Jason Willers, and more...
More info at http://www.christopherlghill.com
2020, English
Softcover, 200 pages, 20 x 13 cm
Published by
Zatezalo Press / Melbourne
$25.00 - In stock -
A train derails in a Barcelona apartment.
A video jerks on a barbecue grill.
A pair of spectacles:
a flip-book
and
a story that runs on tracks.
Published by Zatezalo Press, a Melbourne based imprint focusing on paperback books from contemporary Australian artists. Each book is an edition of 100.
Lou Hubbard is a Melbourne based artist and Senior Lecturer in Photography at the Victorian College of the Arts. Her practice encompasses painting, drawing, sculpture, photography and the moving image to interrogate the nature of training, submission and subordination.
2006, English / Japanese
Softcover, 110 pages, 28 x 22 cm
1st Edition, Out of print title / used / fine
Published by
Tokyo Metropolitan Museum of Photography / Tokyo
$100.00 - Out of stock
Scarce Japanese catalogue on contemporary Australian artist Destiny Deacon, published on the occasion of the 2006 Japanese presentation at the Tokyo Metropolitan Museum of Photography of a major touring survey exhibition, "Destiny Deacon: Walk & Don't Look Blak", curated by Natalie King and assistant curator Virginia Fraser. Profusely illustrated throughout with Destiny's incredible photographic works, alongside a collection of her writings, a conversation with Virginia Fraser, contributions by Marcia Langton, Richard Bell, Harumi Niwa and Natalie King, biography, catalogue of exhibited works and more. Edited by Museum curators Harumi Niwa and Keishi Mitsui, with exhibition curators Natalie King and Virginia Fraser.
Texts in English and Japanese.
Destiny Deacon (b. 1957, Maryborough, Queensland. Lives and works Melbourne, Victoria). Destiny Deacon is a descendant of the KuKu (Far North Queensland) and Erub/Mer (Torres Strait) people. An artist, broadcaster and political activist, her performative photographs, videos and installations feature members of her family and friends as well as items from her collection of ‘Aboriginalia’ – assorted black dolls and kitsch. Partly autobiographical and partly fictitious, her acerbic and melancholic work deals with both historical issues and contemporary Aboriginal life and is informed by personal experience and the mass media. Deacon’s humorous works examine the wide discrepancies between representations of Aboriginal people by the white Australian population and the reality of Aboriginal life. In her ‘lo-tech’ productions, Deacon creates an insightful comedy that is effective in establishing a discourse about political, Indigenous and feminist concerns.
Fine copy, almost As New.
1983 / 1986 Ed., English
Softcover, 96 pages, 20.5 x 22 cm
Out of print title / used / very good
Published by
Currey O'Neil / Melbourne
$190.00 - In stock -
Award winning Australian photographer Rennie Ellis' cult classic photo-book, "Life's A Beach", first published in Melbourne in 1983. Steeped in beach lore since his early days as a lifesaver and surfer, Ellis put together this vivid collection of quintessential images of Australian beach life with great affection and insight. These early 1980's photographs shimmer with summer light and a graceful, infectious sensuality - the greatest photographic collection of Australian beach culture put to paper.
"On the beach we chuck away our clothes, our status and our inhibitions and engage in rituals of sun-worship and baptism. It's a retreat to our primal needs." Rennie Ellis
No other photographer has documented Australian society in such depth and with such insight into the human condition as Rennie Ellis. Active from the 1970s until his death in 2003, Rennie Ellis' non-judgmental approach was his 'access-to-all-areas' pass. Ellis used his camera as a key to open the doors to the social arenas of the rich and famous and to enter the underbelly of the nightclubs, bearing witness to the indulgences and excesses. In today's post-Henson era, these captured moments offer an intimate access to an Australia tantalisingly, but sadly, now almost out of reach.
As New copy except for light creasing to covers. Otherwise a perfectly kept unread deadstock copy.
1976, English
Hardcover, 120 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / average
Published by
Mathews Miller Dunbar / London
$55.00 - Out of stock
Barry Kay's wonderful "The Other Women" photo book from 1976. Intimate black and white documentary portrait collection of Australian transgender women in Sydney (and Melbourne) in the mid 1970's. Melbourne-born Barry Kay (1932-1985), was a highly acclaimed stage and costume designer of international renown, who later in his career also made a name for himself as a distinguished photographer.
From the cover : "In this book Barry Kay documents Australian transvestism, female impersonation and Sydney's unique transsexual community. His photographs were made during visits to Australia in 1974 and 1975"
Scarcer first hardcover English edition. Ex-library copy with associated markings/binding and lacking dust jacket. General wear.
1981, English
Softcover, 176 pages, 21 x 29 cm
1st Edition, Out of print title / used / good
Published by
Sydney College of Arts / Sydney
$55.00 - Out of stock
Fantastic publication from the Sydney College of Arts, 1981. 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 Foreward).
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, and many more.
1978, English
Softcover, 194 pages (plus insert), 21 x 29 cm
1st Edition, Out of print title / used / good
Published by
LIP / Melbourne
$50.00 - Out of stock
The incredible book-sized 1978-79 edition of Melbourne's great LIP journal. Published out of Carlton between 1976-1984, LIP encapsulated Australian feminist artistic practice of the period, publishing articles and interviews by women on women in film, sound, theatre, painting, photography, poetry, criticism, activism, journalism, publishing, sculpture, design, education, and much more.
In this issue: Art Sense and Sensibility: Women's Art and Feminist Criticism - Janine Burke; Aboriginal Women: Ritual and Culture - Diane Bell interviewed by Lesley Dumbrell; Map of Transition: Performance - Jillian Orr; Jane Sutherland - Frances Lindsay; Sybil Craig - Mary Eagle; Make Your Own Teaset - Mary Newsome; Women's Images of Women - Barbara Hall; In Search of Old Mistresses - Patricia Symons; Women Ceramacists; Olive Bishop interviewed by Julie Ewington; Margaret Dodd Talking with Julie Ewington; Lorrain Jenyns; Wendy Stavrianos interviewed by Pauline Petrus; The Development of a Political View: A Conversation Between Two Women Artists - Jennifer Barwell and Vivienne Binns; Micky Allan interviewed by Suzanne Davies; Photographs - Jacqueline Mitelman; From the Ground Up - Photographs - Virginia Coventry; Survey of Women's Art Theory Courses and Feminine Sensibility - Janine Burke; The Women's Art Register Extension Project - Bonita Ely; Sisterhood ― For Whom? Jude Adams and Jenny Barber; Posters by Women in the Earthworks Poster Collective; Film - Margaret Fink and Her Brilliant Career - Frida Freiberg; Following My Star - Elsa Chauvel; Monique Schwarz interviewed by Christine Johnston; A Dialogue between Toni Robertson, a Feminist Poster Maker, and Jeni Thornley, a Feminist Film-maker; Nina Claditz interviewed by Annette Blonski; Introducing Helmer Sanders - Frida Freiberg; Reviews: Shopping in Hearbreak Arcade - Meredith Nolte; Me and Daphne - Linda Rubinstein; Feminine Focus at the Festival - Frida Freiberg; Supplement: Australian Women in Music - Australian Women in Music - Terry Radic; Margaret Sutherland - Helen Coles; May Brahe: Composer - Mimi Colligan; Dr. Ruby Davy - Silvia O’Toole; Four Women Composers: Helen Gifford, Ann Boyd, Ann Carr-Boyd and Peggy Glanville-Hicks - Marcia Ruff; Esther Rofe interviewed by Pauline Petrus; Talking with Linda Phillips by Kerry Murphy; Mary Nemet interviewed by Jeanette Fenelon; The Women's Electric Band interviewed by Jeannette Fenelon; Robyn Archer interviewed by Jeannette Fenelon; The Shameless Hussie A.C.R.; Jane Clifton and Celeste Howden interviewed by Jeannette Fenelon; Janie Conway and Marnie Sheehan - Virginia Fraser; Theatre - The Women's Theatre Group: A Selection of Scripts, Interviews and Comments Kerry Dwyer, Jenny Walsh and Suzanne Spunner; Roma: A One Woman Play - Jan Macdonald and the Roma cast; Tongue to Lip - Valerie Kirwan; And Women Must Wait: Savage Sepia - Suzanne Spunner; Dance and Movement - Marilyn Jones interviewed by Roseanne Hull-Brown; Betty Pounder interviewed by Roseanne Hull-Brown; Yum Wing Chun: Never Underestimate the Power of a Woman - Karen Armstrong; Media - An Open Letter - Shere Hite; Feminism and Publishing: Interviews with Women Publishers - Cathy Peake; Two Early Melbourne Journalists - Lurline Stewart; Sydney Women Writers’ Workshop - Anna Couani and Pamela Brown; The Australian Women's Weekly ― The Case of the Bald Cockatoo - Cathy Peake, Maree Conway and Sue Parvaris.
LIP Collective members: Annette Blonski, Janine Burke, Isabel Davies, Suzanne Davies, Lesley Dumbrell, Jeannette Fenelon, Freda Freiberg, Christine Johnston, Elizabeth Owen, Cathy Peake, Meredith Rogers, Suzanne Spunner, Lynne Wilkinson.
This copy includes the original 1978 etching "Make Your Own Teaset" insert by Mary Newsome.
Good-Very Good copy. Bump to one corner, light wear/tanning.
2020, English
Softcover, 100 pages, 10.5 x 14.8 cm
Published by
Self-Published / Melbourne
$20.00 - Out of stock
This book is a collection of images and corresponding texts advertising free items found on Facebook Marketplace during March, 2019. Using location filters the content was sourced from every state in Australia.
Published in Narrm/Melbourne, 2020 in an open edition.
Designed by Dominic Forde.
All publishers proceeds donated to the Victorian Bushfire Appeal.
1983, English
Softcover, 96 pages, 20.5 x 22 cm
1st Edition, Out of print title / used / good
Published by
Currey O'Neil / Melbourne
$140.00 - Out of stock
First 1983 edition of award winning Australian photographer Rennie Ellis' cult classic photo-book, "Life's A Beach", published in Melbourne in 1983. Steeped in beach lore since his early days as a lifesaver and surfer, Ellis put together this vivid collection of quintessential images of Australian beach life with great affection and insight. These early 1980's photographs shimmer with summer light and a graceful, infectious sensuality - the greatest photographic collection of Australian beach culture put to paper.
"On the beach we chuck away our clothes, our status and our inhibitions and engage in rituals of sun-worship and baptism. It's a retreat to our primal needs." Rennie Ellis
No other photographer has documented Australian society in such depth and with such insight into the human condition as Rennie Ellis. Active from the 1970s until his death in 2003, Rennie Ellis' non-judgmental approach was his 'access-to-all-areas' pass. Ellis used his camera as a key to open the doors to the social arenas of the rich and famous and to enter the underbelly of the nightclubs, bearing witness to the indulgences and excesses. In today's post-Henson era, these captured moments offer an intimate access to an Australia tantalisingly, but sadly, now almost out of reach.
Good-Very Good copy.
Some spotting and light crease to back cover and pages.
1973-74, English
Softcover, 500 plus pages, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Earth Garden / Balmain
$200.00 - Out of stock
A tool-box and a time-capsule; complete set of issues 1-10 of the amazing Earth Garden magazine, edited by Keith Vincent Smith and Irene Smith and published in Balmain NSW between 1972-1974. The Australian Whole Earth!
"EARTH GARDEN presents a range of natural life-styles. It is intended as a key to sources, practical ideas and alternatives to the nine-to-five drag. EARTH GARDEN is concerned with the back-to-the-earth movement, surviving in the city, living in the country, organic gardening, community, outdoors, food and diet, living more with less, and the inner changes which follow when you are in tune with Nature. Let us lead you up EARTH GARDEN'S path to the good life. There are no advertisements in EARTH GARDEN, books, places and products recommended are those we think relevant."
The combined 500-plus pages of these 10 issues cover everything, including dome building, bush foraging, sun cults, edible flowers, Montsalvat, hydroponics, mud building, food co-ops, natural dyes, bee-lore and bee-keeping, raku firing, Australian communes, Robert Rodale, suburban farms, planting charts, wholefoods, the Feedwell Family, macrobiotics, fruit wines, Neil Douglas, veganism, fallout shelters, goats, Nimbin, Clifton Pugh, bamboo flutes, animal care, mushrooms, A-frames, school farms, bio-dynamics/Rudolf Steiner, Shalom, banana-gas, weaving, solar and wind power, pottery, clothing, cooking... you get the idea - just the surface. Articles, guides, stories and interviews with so many Australian practitioner's of harmonious living, all heavily illustrated with photographs and drawings. A real treasure and more important than ever!
All very good with only light wear/ageing.
1979, English
Softcover (staple-bound), 52 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Working Papers on Photography (WOPOP) / Melbourne
$45.00 $30.00 - In stock -
Scarce issue of Melbourne photography journal, WOPOP : Working Papers on Photography, founded in Melbourne in 1978 by Euan McGillivray, the Curator of Photography at the Science Museum of Victoria, and Matthew Nickson, from the Photography Department at RMIT. The irregular journal encouraged critical discussion of photography by a new generation of artists and critics.
This issue (WOPOP Issue No.5 December 1979) includes: Editorial by Euan McGillivray and Matthew Nickson; "...A Not So New Non Silver Process" by the Editors; "China Cheesecake"; "On the Subject of John Szarkowski" by A.D. Coleman; "Pictures, Words and History" by Jozef Gross; "Dismantling Modernism, Reinventing Documentary (Notes on the Politics of representation)" by Allan Sekula; Directory of Australian Pictorial Resources, and more.
Very Good copy. Very light toning, spotting, wear with age.
1978, English
Softcover (staple-bound), 44 pages, 34 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Working Papers on Photography (WOPOP) / Melbourne
$45.00 - Out of stock
Scarce issue of Melbourne photography journal, WOPOP : Working Papers on Photography, founded in Melbourne in 1978 by Euan McGillivray, the Curator of Photography at the Science Museum of Victoria, and Matthew Nickson, from the Photography Department at RMIT. The irregular journal encouraged critical discussion of photography by a new generation of artists and critics.
This issue (WOPOP Issue No.1 1978) includes: Editorial by Euan McGillivray and Matthew Nickson; "John Heartfield" by Matthew Nickson; "Futurology & Photography" by Graeme Johanson (Latrobe Library, State Library of Victoria); "LaTrobe Library Picture Collection" by Jenny Carew (acting Picture Librarian, Latrobe Library, State Library of Victoria); "Sontag on Photography" by Ann-Marie Willis; "Silver" by Matthew Nickson; "A Constitution Lost" by Ann-Marie Willis; "Australian Women Photographers" by Jenni Mather.
Good copy. Some toning, spotting, wear with age.
1971, English
Hardcover, 82 pages, 29 x 21 cm
1st Edition, Out of print title / used / good
Published by
Thomas Nelson / Melbourne
$100.00 - Out of stock
First hardcover edition of this Australian photo-book classic. In 1971, photographer Rennie Ellis and co-photographer and close friend, Wesley Stacey, published Kings Cross Sydney, which, as Ellis puts it "examines the surface glitter and underground guts of the Cross". An intimate look at the height of Kings Cross, before gentrification and controversial lock-out laws had their way with it. Illustrated throughout with black and white and colour photographs alongside quotes and stories from/about local residents (inc. the "Witch of Kings Cross", Rosaleen Norton), workers, businesses, controversies, and politics of Kings Cross. Colloquially known as The Cross, The Kings Cross district was Sydney's bohemian heartland from the early decades of the 20th century, known for its music halls and grand theatres and home to a large number of artists, writers, poets and journalists. From the 1960s onwards Kings Cross came to serve as the city's red-light district and entertainment mecca.
"Between the time when work was begun on this book and its appearance in the shops, Kings Cross has continued in its haphazard state of flux. The park at the El Alamein Fountain has been paved, the 'full
reveal' has become standard in the strip clubs, several night spots have gone out of existence and others
have opened in their places, Rose the Flower Seller has died, as have Tilly Devine, Chips Rafferty and
Kenneth Slessor, Sammy Lee has grown a moustache, and many more old buildings have crumbled under
the wreckers' hammers. Yet, the book remains a valid statement about the changing society it reflects because its images freeze moments in time that will forever remain symbols of the unusual character of the Cross. With their cameras Rennie Ellis and Wesley Stacey have penetrated the slick veneer of life at Kings Cross and revealed the beauty and the pathos, as well as the seaminess, which lurk beneath the tinsel glitter. The affinity which the authors feel for the place, the people, and their attitudes, has resulted in
an honest appraisal which may sadden, amuse, shock or repel, but never fair to intrigue those who read or look at the book."
"Over a period of six months the authors made frequent forays into the Cross armed with their cameras
and tape recorder. It was only by becoming known to the locals that they were able to record some of
the remarkable scenes in this book. Nevertheless, there is much that they learned about the Cross
which can only be hinted The laws of libel and the threats of bashings ensure a diplomatic silence. As
one of the authors put it: 'When a guy pulls a pistol on you and says that he's going to shoot you, you know
that it's time to put away your camera and retire gracefully.'"
Good copy with some edge wear and light spotting.
2019, English
Hardcover, 210 pages, 24 x 24 cm
Published by
M.33 / Melbourne
$70.00 - Out of stock
Suburban Baroque brings together a selection of David Wadelton’s photographs of the vanishing mid-century suburban interiors of the formerly working-class northern areas that were the destination of choice for many post-war immigrants from Europe. The once-ubiquitous terrazzo, balustrades, marble columns and lions and other manifestations of pride and nostalgia for their homelands have become increasingly rare as the years pass, generations change, and gentrification takes place. The rooms are redolent of a different era and imbued with pathos, as most are the pride and joy of a generation that is passing. The decor speaks of post-war immigration in a fascinating time capsule, where one experiences a mix of local and imported; defying current design conventions. Often the owners proudly designed the rooms to suit their preferences and to impress their friends and neighbours back in the 1970s, and they have immaculately maintained them that way ever since. Includes an essay by Patrick Pound.
2019, English
Softcover, 304 pages, 23 × 30 cm
Published by
Discipline / Melbourne
$20.00 - Out of stock
Edited by Helen Hughes and David Homewood (Discipline Nº 5); Carla Macchiavello and Camila Marambio (Más allá del fin Nº 3).
Discipline, Más allá del fin (translating to ‘discipline beyond the end’)—represents an effort to map a South–South relationship between Chile and Australia, and even more specifically, between its southernmost island tips: Tierra del Fuego and Tasmania. For centuries, the Northern imagination conceived of these places as the very personification of distance itself, whereas the editors of Más allá del fin refer to Tierra del Fuego as ‘the centre of the known universe’. In addition to publishing a range of essays on modern and contemporary art, this joint issue recentres and forges new connections between Southern perspectives, generating a dynamic and relational art history of the contemporary.
Designed by Robert Milne.
Discipline is a publisher and contemporary art journal edited by Nicholas Croggon, David Homewood, and Helen Hughes. Alongside artist pages and interviews, it publishes research essays about contemporary Australian art, and histories and theories of contemporary art as a global industry or phenomenon. For each issue a guest editor, from somewhere else in the world, is invited to contribute a guest edited section. Guest editors since 2011 are: Vivian Ziherl; Maria Fusco; Raimundas Malašauskas; Ferdiansyah Thajib, KUNCI Cultural Studies Center; and Carla Macchiavello and Camila Marambio, Ensayos.
1985, English
Softcover, 96 pages, 20.5 x 22 cm
1st Edition, Out of print title / used / good
Published by
Currey O'Neil / Melbourne
$80.00 - Out of stock
First edition of award winning Australian photographer Rennie Ellis' cult classic photo-book, "Life's A Ball", published in Melbourne in 1985, shortly after his "Life's a Beach" and "Life's a Beer". A book entirely dedicated to the ecstatic and delirious world of (mostly) Melbourne parties in the 1980s. "You will probably see more flesh than you can stand in this paean of pulchritude, this fanfare of fun, this roll call of rort, this ... ah well, this collection from an apparently inexhaustible supply of eye-popping pictures". As always, a joyous time-capsule of Australian society and culture.
No other photographer has documented Australian society in such depth and with such insight into the human condition as Rennie Ellis. Active from the 1970s until his death in 2003, Rennie Ellis' non-judgmental approach was his 'access-to-all-areas' pass. Ellis used his camera as a key to open the doors to the social arenas of the rich and famous and to enter the underbelly of the nightclubs, bearing witness to the indulgences and excesses. In today's post-Henson era, these captured moments offer an intimate access to an Australia tantalisingly, but sadly, now almost out of reach.
Good copy with some spotting to title pages, light wear to covers.
2013, English
Hardback, 256 pages, 29 x 25.5cm
1st Edition, Out of print title / as new
Published by
Hardie Grant Books
State Library of Victoria / Melbourne
$60.00 - Out of stock
Now out of print, Decade 1970-1980 highlights Ellis as one of Australia’s most important chroniclers of 1970s Australia. The photographs, predominantly black and white, are drawn from a core selection originally made by Rennie, from his own unpublished book, and supplemented by other significant and iconic images from the Rennie Ellis Photographic Archive and the State Library of Victoria’s collection. Many of the photographs are accompanied by extended captions written by Rennie Ellis and are published for the first time!
A social documenter and flâneur, Ellis used his camera as a passport to navigate new experiences, resulting in a culturally important and vast body of work. Decade explores the cultures and sub-cultures of the seventies: the political upheavals, alternative lifestyles and counter culture, the women’s movement, gay liberation, the new religions and cults, pop festivals, the Vietnam and other protests, massage parlours, the disco scene, the blossoming of Australia’s film industry, the new sexual freedom, Aboriginal rights, street festivals, the new theatre, fashion, drugs and the emergence of a decadent and hedonistic society that would later characterise the Eighties.
Edited by multi-award winning photographer, Stephen Dupont, with essays by Manuela Furci, Director of the Rennie Ellis Photographic Archive, Paul Cox, Film maker and Photographer and Susan Van Wyk, Senior Curator of Photography at the National Gallery of Victoria.
No other photographer has documented Australian society in such depth and with such insight into the human condition as Rennie Ellis. Active from the 1970s until his death in 2003, Rennie Ellis' non-judgmental approach was his 'access-to-all-areas' pass. Ellis used his camera as a key to open the doors to the social arenas of the rich and famous and to enter the underbelly of the nightclubs, bearing witness to the indulgences and excesses. In today's post-Henson era, these captured moments offer an intimate access to an Australia tantalisingly, but sadly, now almost out of reach.
As new copy.
2014, English
Hardcover, 252 pages, 29 x 25.5cm
1st Edition, Out of print title / as new
Published by
Hardie Grant Books
State Library of Victoria / Melbourne
State Library of Victoria
$60.00 - Out of stock
With an introduction by photographer and Rennie contemporary William Yang and an essay by photographer and art critic Robert McFarlane, Decadent highlights Ellis as one of Australia's most important chroniclers of the 1980s. A beautiful limited edition hard cover lavishly illustrated with near 150 photographs, both colour and black and white, that are drawn from the Rennie Ellis Photographic Archive and the State Library of Victoria Rennie Ellis collection. Decadent explores the rise of the hedonism that we now associate with the 1980s. Ellis' boundary-pushing, racy and sometimes voyeuristic works capture a society that seems to be revelling in its abandonment of the politically charged 1970s documented in Decade.
No other photographer has documented Australian society in such depth and with such insight into the human condition as Rennie Ellis. Active from the 1970s until his death in 2003, Rennie Ellis' non-judgmental approach was his 'access-to-all-areas' pass. Ellis used his camera as a key to open the doors to the social arenas of the rich and famous and to enter the underbelly of the nightclubs, bearing witness to the indulgences and excesses. In today's post-Henson era, these captured moments offer an intimate access to an Australia tantalisingly, but sadly, now almost out of reach.
As new copy.
1971, English
Softcover, 60 pages, 23 x 23 cm
1st UK Edition, Out of print title / used / good
Published by
The Australian Ballet Company / Melbourne
$25.00 - Out of stock
This handsome publication commemorates the 1970-71 season of The Australian Ballet company. Richly illustrated throughout with colour and b/w photography by Australian photographer Paul Cox and others, capturing the rehearsals, performances (with Marilyn Jones, Garth Welch, etc.), souvenir photos of the North American Tour (with Rudolf Nureyev), The Company, Repertoire, The School, and more.
Edited by Noel Petty, texts by John Wallace.
Design by Graham Blacker.
Good copy with heavy cover creasing and general wear.
2018, English
Hardcover, 180 pages, 22 x 24 cm
Published by
Lecturis / Eindhoven
$75.00 - Out of stock
This is the first international monograph of the photographs of John Williams (Sydney 1933 – 2016 Hobart) whose work, outside his own country, remains undiscovered. Inspired to take up photography by “The Family of Man” exhibition which went to Sydney in 1959, Williams was, from the outset, a street photographer in the strict sense: he walked the streets at random, waiting for the right moment to press the button of his already prepared camera. Besides amounting a mass of photographs, he established one of the first photography galleries in Australia and was the first Head of Photography at Sydney College of the Arts.
Edited by Rolf Sachsse
1985, English
Softcover, 60 pages, 21 x 28 cm
1st Edition, Out of print title / Used*,
Published by
The Art Gallery of Western Australia / Perth
$50.00 - Out of stock
Scarce Australian catalogue published on the occasion of the exhibition "Pleasure of The Gaze : Image and Appearance in Recent Australian Art", held at the The Art Gallery of Western Australia, Perth, 1985, and curated by Bruce Adams.
Profusely illustrated in colour and black and white across exhibiting artist biographical sections and essay accompaniment illustrations, this publication features the work of Julie Brown-Rrap, Peter Callas, Richard Dunn, Merilyn Fairskye, Marinka Kordis, Maria Kozic, Lindy Lee, John Lethbridge, Akio Makigawa, Sue Paull, Stieg Persson, Robert Randall and Frank Bendinelli, Carol Rudyard, Peter Tyndall, Vicki Varvaressos, and John R. Walker. Essays include "Eye, Image, Picture, Screen (and all that Junk)" by Adrian Martin; "Sticky Television" by Meaghan Morris; "Re Re-Orientation: The Image as Fantasy and Furniture in Japan" by Peter Callas. Plus an introduction by Adams.
Design by Wohlnick Design.