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.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$280.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
1976, Portuguese
Double-sided fold-out, 4 panels, 47 x 30 cm (unfolded)
1st Edition, Out of print title / used / very good
Published by
Museu de Arte Contemporânea da Universidade de São Paulo / São Paulo
$45.00 - In stock -
Very rare fold-out catalogue for the important international art exhibition surveying conceptual art, concrete poetry, experimental art, performance art, mail art ("activity with a critical view of society") in the 1970s organized by Argentine author, publisher, curator, professor, and conceptual artist, Jorge Glusberg, who was director of the Center for Art and Communication of Buenos Aires (CAYC). With text by Brazilian professor, historian, art critic and curator by Walter Zanini, director of the Museu de Arte Contemporânea da Universidade de Sao Paulo (MAC). With a number of the exhibited heliographic documents from the exhibition illustrated throughout, the brochure catalogues the exhibited works by participants including: Dan Graham, Lawrence Weiner, Genesis P-Orridge, Ian Burn and Mel Ramsden, Öyvind Fahlström, Július Koller, Tim Ullrichs, Luis Fernando Benedit, Jaime Davidovich, Jorge Glusberg, Víctor Grippo, Lea Lublin, Luis Pazos, Julio Plaza, Jonier Marin, Jiří Valoch, Guillermo Deisler, Juan Navarro Baldeweg, Manuel Barbadillo, MH de Ossorno, Valcárcel Medina, Felipe Ehrenberg, César Bolaños, Pawel Petasz, José Urbach, Lydia Okumura, Haroldo González, Les Levine, and many others.
Very Good copy with light wear.
1975 / 1985, English
Softcover, 272 pages, 23 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
The Overlook Press / New York
$40.00 - In stock -
First 1975 US edition (1985 print) of Stephen Dwoskin's important critical history of international independent and underground film-making, its pioneers and masters, and their creations, from the 1920s to the present (late 1970s), assessing the movements importance to the current status of film as art and entertainment. Published by Overlook Press.
Underground' film is finally emerging in terms of the public consciousness as an important and enduring contribution to the world of celluloid, both as entertainment and as an art form. The author, Stephen Dwoskin, is a young American independent filmmaker with personal experience in an expert knowledge of a creative area barely studied until this time. He has created in FILM IS an invaluable record of the pioneering cinematic statements that are at once peripheral and central to film today on an international scale. It is both culturally and sociologically true today that an increasing number of the painters and the poets have become filmmakers. Un-pressured by big business, free cinema has become a personal, creative expression for many men and women who often work in obscurity with small means indeed. Dwoskin's work presents the early history of the independent film from its beginning in the twenties to its phenomenal outburst in the sixties, written by an involved, perceptive critic. Through his own work and his contributions to the juries of international festivals, Dwoskin has a wide-ranging knowledge of the independent film from the U.S. to Britain, Italy, Germany, and Austria. Over 700 films are discussed, many for the first time. Van der Beek, Refenstahl, Brakhage, Emshwiller, Ray and Jack Smith are only some of the experimental filmmakers mentioned in FILM IS, but Dwoskin refers forwards and backwards to the works of others, often better known— Bunuel, Cocteau, Fassbinder, Truffaut, Warhol. There is also a comprehensive index. FILM IS provides a unique and invaluable reference work for all those interested in the frontiers of film consciousness.
Stephen Dwoskin (1939—2012) was a major avant-garde filmmaker whose work was closely connected to the 'gaze theory' associated with Laura Mulvey; a significant disabled filmmaker – though he rejected being framed as such – and an activist for an alternative film culture, through such organizations as the London Film-Makers' Co-op and The Other Cinema. His films are held by the BFI and distributed by LUX. His archive is held at The University of Reading.
Very Good copy, light wear, ex-owner's name in inside front cover.
1987, Japanese
Softcover (w. wax dust jacket), 56 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Seibu Museum of Art / Tokyo
$140.00 $70.00 - In stock -
Rare copy of the 1987 exhibition cataloue OBJET — Deviant Materials, published on the occasion of the group exhibition at Seibu Museum of Art and curated by Tatehata Satoshi, exploring postwar sculptural art in Japan from around 1960 to the present day through the work of 21 artists, an attempt to provide an opportunity to see the expansion and transformation of the so-called object itself. Heavily illustrated throughout with worksm biographies adn statements from artists including Genpei Akasegawa, Kazunori Ono, Mokuma Kikubata, Ryo Kitatsuji, Yayoi Kusama, Tetsumi Kudo, Yumiko Kanno, Shuzo Takiguchi, Kyoji Takubo, Atsuko Tanaka, Satomi Tim, Natsuyuki Nakanishi, Shiro Matsui, Tomio Miki, Kimiyo Mishima, Toyoji Miyazaki, Saburo Muraoka, Tatsumi Yoshino, Masunobu Yoshimura, Isamu Wakabayashi...
Good copy, some wear, light foxing.
1982, English
Softcover, 336 pages, 255.5 x 17.5 cm
1st Edition, Out of print title / used / good
Published by
Semiotext(e) / Los Angeles
$150.00 - In stock -
Rare copy of one of the remarkable special book issues of the original Semiotext(e) journal — the Semiotext(e) The German Issue, published in 1982, edited by Sylvère Lotringer, featuring the work of Joseph Beuys, Michel Foucault, Christo, Christa Wolf, Walter Abish, Alexander Kluge, Paul Virilio, Ulrilke Meinhof, William Burroughs, Jean Baudrillard, Hans Magnus Enzenberger, Maurice Blanchot, Hans Jürgen Syberberg, Heidegger, Félix Guattari, Fritz Teufel, André Gorz, Helke Sander...
First edition. Not the 2009 reprint.
The German Issue (1982) was originally conceived as a follow-up to Semiotext(e)’s Autonomia/Italy issue, published two years earlier. Although ideological terrorism was still a major issue in Germany, what ultimately emerged from these pages was an investigation of two outlaw cities, Berlin and New York, which embodied all the tensions and contradictions of the world at the time. The German Issue is the Tale of Two Cities, then, with each city separated from its own country by an invisible wall of suspicion or even hatred. It is also the complex evocation of the rebelling youth—squatters, punks, artists and radicals, theorists and ex-terrorists—who gathered all their energy and creativity in order to outlive a hostile environment.
Like a time capsule, The German Issue brings together all the major "issues" that were being debated on both sides of the Atlantic—which eventually found their abrupt resolution in 1989 with the fall of the Berlin Wall. It involved the most important voices of the period—from writers and filmmakers to anthropologists, activists and poets, terrorists and philosophers. The book opens with Christo's “Wrapping Up of Germany” and the celebrated dialogue between East German dramaturge Heiner Müller and Sylvère Lotringer on the Wall (“Mauer”). Since it has been published in many languages, The German Issue offers a first-hand account of the Western world on the threshold of a major global mutation.
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Good—Very Good copy with general cover wear.
2024, English
Softcover, 224 pages (500+ ills.), 22.5 x 22 cm
Published by
Geelong Art Gallery / Victoria
$60.00 - In stock -
Printmaking was a vital part of artist John Nixon’s celebrated oeuvre of abstract art. This catalogue accompanies the exhibition of the same name at Geelong Gallery and reveals Nixon's inventive use of varied techniques, which ranged from simple woodcuts and potato prints, to more complex screenprints, stone lithographs and etchings. It includes a curatorial essay by Sue Cramer, Emma Nixon, and Trent Walter. Additional contributions by Stephen Bram, Lizzie Boon, Roger Butler, Claus Carstensen, Sally Foster, James Gatt, Erik Jensen, Rebecca Mayo, Rose Nolan, Mike Parr, Victoria Perin, Jacqueline Stojanović, Jason Smith, and Warren Taylor.
2006, English
Softcover, 336 pages, 26 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Center for Curatorial Studies Bard College / New York
$290.00 - In stock -
First edition of this very special, now very rare catalogue published in 2006 on the occasion of the major survey exhibition Witness To Her Art, featuring the work of Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and the seminal magazine Eau de Cologne, published by gallerist Monika Sprüth between 1985 and 1989. Profusely illustrated throughout with artworks by all artists, reproductions of important artist publications, installation views, and many works by other related artists, alongside texts by Adrian Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Monika Sprüth, Rhea Anastas, Michael Brenson, Norton Batkin, Johanna Burton, Aruna D’Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtémoc Medina, Ann Reynolds, Hamza Walker, and many more.
Publisher's blurb:
"This radical new study aims to change the way that some of the most influential artists of the past 40 years are seen—all of them women. Emphasizing questions of autonomy, critical intelligence and artistic intention, "Witness to Her Art" presents works by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and "Eau de Cologne," a magazine published by gallerist Monika Sprüth. The artworks are accompanied by original writings by the artists, contemporaneous criticism and newly commissioned essays by Pamela Franks, Aruna D'Souza, Johanna Burton, David Levi Strauss, Hamza Walker and Cuauhtémoc Medina. The ambitious works presented and interpreted herein invite us to consider the impact of the feminist revolution across generations while rendering obsolete any stigma associated with shows or catalogues limited to women artists. Taking its lead from Conceptualism, feminism, and from its included artists, "Witness to Her Art" reaches for art history's capacity as a medium of world-making."
Highly recommended. Very Good copy with light edge wear/rounding to stiff overlay boards.
1984, English
Softcover, 62 pages, 21.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Kunsthalle Basel / Basel
$90.00 - Out of stock
Wonderful 1984 catalogue, Private Property Created Crime, surveying the work of American conceptual artist Jenny Holzer (b. 1950), published on the occasion of a major European exhibition at Kunsthalle Basel and Le Nouveau Musée.
"THIS IS A BOOK OF STREET WORK AND INSTALLATIONS; POSTERS, T-SHIRTS, PLAQUES, STICKERS AND ELECTRONIC SIGNS. THE PHOTOGRAPHS ARE ARRANGED IN SERIES: TRUISMS, 1977–1983; ESSAYS, 1979–1983; LIVING, 1981–1983; AND SURVIVAL, 1983-1984. THE BOOK ACCOMPANIES EXHIBITIONS AT THE KUNSTHALLE, BASEL AND LE NOUVEAU MUSÉE, VILLEURBANNE."
Profusely illustrated in b/w and colour. Introduction by Jean-Christophe Ammann, plus biography and bibliography. All in English.
Jenny Holzer (b. 1950) is an American conceptual artist best known for her text-based works, which are constructed from "truisms" such as "abuse of power comes as no surprise"and "protect me from what I want." By experimenting with the use of words visually displayed in public spaces, Holzer is able to stimulate public discussions about violence, sexuality, oppression, human rights, feminism, power, war, and death. Starting with street posters, Holzer's practice has come to incorporate LED screens that run with stock-ticker-like texts, painted signs, plaques, photographs, sound, video, and the Internet.
Until 1993, Holzer wrote her own texts, after which she began to appropriate texts by Polish Nobel laureate Wislawa Szymborska and other champions of human rights, including Elfriede Jelinek, Fadhil Al-Azawi, Yehuda Amichai, and Mahmoud Darwish. Recent works include I Was in Baghdad Ochre Fade (2007), a series of oil on linen transcriptions of torture documents from the Iraq War; Redaction Paintings (2009), which were created using recently released classified memos with texts blacked out by censors; and an installation in the lobby of 7 World Trade Center. In 1990, she was the first woman to represent the United States at the Venice Biennale, where she won the Golden Lion for the best artist.
Good—VG copy with cover wear.
1975, Italian / French
Hardcover (linen bound), 277 pages, 30 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Nuova Prearo Editore / Milan
$190.00 - Out of stock
First edition of the wonderful (in progress) catalogue raisonné of Piero Manzoni — General Catalogue — edited by Germano Celant and published by Nuova Prearo Editore, Milan, 1975. This heavy, richly illustrated book provided the first overview of Piero Manzoni’s oeuvre. Illustrated exclusively with black and white photographs, the book featured an extensive text by Germano Celant, divided into chapters, a selection of writings by the artist and the register of works “ordered chronologically by groups, determined by type” and the appendices with exhibitions and bibliography. It was later re-printed and expanded in 1989. Texts in Italian and French.
Piero Manzoni (1933—1963) was an Italian artist best known for his ironic approach to avant-garde art. Often compared to the work of Yves Klein, his own work anticipated, and directly influenced, the work of a generation of younger Italian artists brought together by the critic Germano Celant in the first Arte Povera exhibition held in Genoa, 1967. Manzoni is most famous for a series of artworks that call into question the nature of the art object, directly prefiguring Conceptual Art. His work eschews normal artist's materials, instead using everything from rabbit fur to human excrement in order to "tap mythological sources and to realize authentic and universal values". His work is widely seen as a critique of the mass production and consumerism that was changing Italian society (the Italian economic miracle) after World War II. Italian artists such as Manzoni had to negotiate the new economic and material order of post-war Europe through inventive artistic practices which crossed geographic, artistic, and cultural borders.
Very Good copy. Book is Near Fine in every way, yet missing dust jacket, therefore VG.
2020, English
Flexicover, 265 pages, 22 x 16.5 cm
Published by
Hauser & Wirth / Zurich
$95.00 - Out of stock
Featuring a luxurious faux-leather binding, Piero Manzoni: Writings on Art features 25 texts by the Italian artist Piero Manzoni (1933-63), spanning from 1956 to 1963, the year of the artist's premature death by heart attack. Writing during the Italian economic miracle of the '50s and '60s, Manzoni's essays and manifestos represent his response to the state of midcentury Italian art and art writing. Selected by art historian Gaspare Luigi Marcone, all writings have been either translated into English for the first time or newly translated. Each text is accompanied by extensive archival images and contextualized with editorial commentary. The book features a foreword by the Piero Manzoni Foundation's director, Rosalia Pasqualino di Marineo, and a newly commissioned essay by one of today's best-known art historians, Benjamin H.D. Buchloh.
1975, English
Softcover (staple-bound), unpaginated, 21.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Queen Street Magazine / Toronto
$30.00 - In stock -
Queen Street Magazine Vol. 3 No. 1, Issue 7, 8, 9, a 'Multi-media Journal of the Arts' from Canada that covered the experimental and conceptual arts in Toronto's historic Queen Street West neighborhood, which grew into a vibrant arts district in the 1970s. Edited by Angelo Sgabellone, associate edited by Beth Learn, this issue of particular interest for Learn's Language & Structure in North America on Language Art to accompany the first, large, definitive survey of North American Language Art curated by Richard Kostelanetz in Toronto in 1975. This issue gathers many works by North American Language Artists including Bill Bissett, Jackson Mac Low, Robert Barry, Brion Gysin, Mario Diacono, Agnes Denes, Thomas Ockerse, Steve McCaffery, Claes Oldenburg, Ernest & Marion Robson, Garry Gilbert, Larry Miller, Richard Kostelanetz, Hans Jewinski, Joe Rosenblatt, Gerry Shikatani, and more. Plus Mary Janitch, Read '75: Language & Structure in North America, Chuck Stake Enterprizes and the Junk Mail Art Show, The State of Magazine Distribution In Canada, Reinhard Reitzenstein, Learn/Yeats Second Coming Band, Small Magazine Press Scene, and much more.
Good copy with wear.
2020, English
Softcover, 880 pages, 31 x 22.8 cm
1st Edition, Out of print title / as new
Published by
Koenig Books / London
$800.00 - In stock -
The incredible Broodthaers book that was never available. Exhibition History 1964 – 1975 and Selected Works 1957 – 1975 is the most comprehensive account of Broodthaers' truely radical history of exhibition-making and catalogue of artworks that was immediately removed from market release the moment it was printed and pre-listed. An incredibly important and detailed reference on the artist like no other, this almost 900 page volume remains catalogued as 'not yet printed' to this day, shelved indefinitely. We have one available that escaped embargo. Still sealed.
In 1963, the writer Marcel Broodthaers decided to embark on a career in the visual arts. Yet he never severed his ties to poetry and language, whose systems of meaning make up an integral aspect of his work. Retaining a certain distance to the art world, he posed fundamental questions about art —its mediums, its conceptions of what constitutes an artwork, its representation in museums. To this day, his oeuvre takes a critical stand on art’s commercialization strategies. Exhibition-making itself was a key element of Broodthaers’ artistic approach. Documenting all of the artist’s solo exhibitions that took place during his lifetime, this major 880-page catalogue is the first ever to highlight that praxis. The extensive chronology and the accompanying detailed pictorial documentation of the most important works of every year together offer a systematic overview of his oeuvre. In addition to scholarly essays and many texts by Marcel Broodthaers himself, this major publication also features an extensive series of photographic views of the major retrospective at the iconic Fridericianum in Kassel, Germany.
As New, still sealed.
2021, English
Hardcover, 400 pages, 23.5 x 28.5 cm
Published by
Hatje Cantz / Berlin
WIELS / Brussels
$110.00 - In stock -
Marcel Broodthaers's work is characterized by a complex exploration of the relationship of text and image. This catalog raisonne, prepared by WIELS and developed in close collaboration with the Marcel Broodthaers Succession, is the first to include all of the Belgian conceptual artist's industrial poems created between 1968 and 1972. Borrowing from the aesthetics of industrially manufactured plastic signs, Broodthaers's multi-layered, often enigmatic pictorial poems testify to his interest in the entanglements of language, punctuation, and symbols. In blurring the boundaries between word and image, painting and object, new levels of meaning are made visible. The index is supplemented by a collection of Broodthaers's drawings, writings and "open letters" as well as scholarly contributions that position the poems as a crucial group of works within the artist's oeuvre.
Text by Manuel Borja-Villel
1992, German
Softcover, 68 pages, 21 x 14 cm
Ed. of 1000,
1st Edition, Out of print title / as new
Published by
Kunstraum München / Münich
Raum für Kunst / Hamburg
$35.00 - In stock -
First edition of this Broodthaers catalogue, published on the occasion of an exhibition of Broodthaers' "Objects, Printmaking, Drawings, Books" held in 1992 at Kunstraum München and Raum für Kunst, Hamburg. Heavily illustrated with works in black and white throughout (with extended captions/descriptions), portrait of Broodthaers with Magritte, and accompanying text by a Dorothea Zwirner. Texts in German.
As New copy.
Edition of 1000.
1970/1971, French
Softcover, 2 volumes, unpaginated, 28.5 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Marie Concorde / Paris
$380.00 - Out of stock
Both of the only volumes ever produced of this wonderful French avant-garde journal, published in Paris at the beginning of the 1970s. A visual manifesto against the prudishness of the times, KITSCH presented hundreds of illustrations of mostly erotic, fetish and fantastic/grotesque artwork by artists from all over the world, and spanning generations, with both issues wrapped in the most striking Tom Wesselmann covers. KITSCH 1 includes Toshio Saeki, Guido Crepax, Richard Linder, Robert Crumb, Guy Bourdin, Petr Herel, Hannes Jahn, Roman Cieślewicz, Ben Vautier, Christian Bour, Jacques Sternberg, Roland Topor, Jim, Allen Jones, Thomas Weir, alongside photo essays on upskirt polaroids, Satanik, Diabolik, fashion and more. KITSCH 2 includes Aslan, Roy Lichtenstein, Virgil Finlay, Jim Osborne, Ronald Lipking, Greg Irons, George Grosz, Egon Schiele, Mel Ramos, alongside photo essays on subjects such as "Pop Art", "Human Concern" and Paris' "Pigalle" district, further featuring work by H.C.Westermann, Paul Thek, Edward Keinholz, William Tunberg, Christian Schad, William Weegee, James Rosenquist, Frank Gallo, Tom Wesselmann, and many more.
Very good copies both, light wear.
1972, German
Softcover, 54 pages, 30 x 21 cm
1st Edition, Out of print title / used / average
Published by
Kunstmuseum Basel / Basel
$50.00 - In stock -
Rare copy of Dedans - Dehors, Dehors - Dedans, published in 1972 by Kunstmuseum Basel on the occasion of a solo exhibition of Swiss conceptual artist Rémy Zaugg (1943—2005). Rémy Zaugg was one of the most radical Swiss artists of his time. He played an important role as both a critic and observer of contemporary culture, especially with regards to the perception of space and architecture. A lovely and detailed catalogue profusely illustrated with Zaugg's artworks spanning 1968—1972, including two fold-out spreads, largely a pictorial survey with a small exhibition note by Dieter Koepplin and chronology. Texts in German.
Good—Average copy with some cover wear, bumping, spine pinching, internally very good, light tanning.
1993, Japanese / French
Softcover (w. french folds), 190 pages, 22 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Yomiuri Shimbun / Tokyo
$90.00 $70.00 - Out of stock
Scarce and visually rich monograph on Supports/Surfaces, the radical painting movement that began in the South of France in the late-1960s, published in Japan on the occasion of a rare major exhibition that toured throughout 1993—1994. This definitive catalogue gives a generous overview of the many works of the artists of Supports/Surfaces from 1966—1974 through colour and black and white photographs. It also provides texts (in Japanese and French), interviews, historical photos of the group and their installations, work list, a chronology, a biography and many essays. One of the few major publications on the work of Supports/Surfaces. Comes with original 1993 illustrated exhibition flyer inserted.
Supports/Surfaces developed away from Paris, in the south of France, with the first major exhibition held in 1969 at the Musée d’Art Moderne de la Ville de Paris. In June 1969, during an exhibition at the Havre Museum entitled “La peinture en question”, Vincent Bioulès, Louis Cane, Marc Devade, Daniel Dezeuze, Noël Dolla, Jean-Pierre Pincemin, Patrick Saytour, André Valensi, Bernard Pagès and Claude Viallat write in the catalog: “The subject of the painting is the painting itself and paintings on display refer only to themselves. They make no appeal to an “elsewhere” (the personality of the artist, his biography, history of art, for example). Early exhibtions took place in towns like Coaraze, Montpellier, Nimes and Nice in the mid-1960s. After the student revolts of 1968, the movement ratcheted up its activities, exploding in such exhibitions as “Supports/Surfaces,” which took place at ARC in Paris in September 1970. These shows occurred at or around the same time as those of other French artist groups like GRAV and BMPT (Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni). Like them, Supports/Surfaces questioned the role of painting as both an art object and a social one.
As its name suggests, Supports/Surfaces was interested in articulating what its artists felt were all too readily ignored aspects of painting: basic concepts like ‘support’ and ‘surface,’ for example, and the presence of painting as a product of individual labor. At the same time, these artists were very much interested in painting and its own peculiar history. Daniel Dezeuze points out that he was looking for a means of “revolting against the art world and the world in general without having to make anti-art.” (Raphael Rubinstein, Polychrome Profusion: Selected Art Criticism: 1990 – 2002.) In fact, those involved with Supports/Surfaces, as Rubinstein also notes, were some of the few French artists of the period to engage directly with American Painting from Abstract Expressionism to Color Field, albeit doing so within the context of their Maoist discourse.
Very Good copy with light wear/age/foxing. Comes with original 1993 illustrated exhibition flyer inserted.
2012, English / Croatian
Softcover, 136 pages, 16.2 x 23.5 cm
Ed. of 600,
Published by
Galerija Zuccato / Poreč
$35.00 - Out of stock
Book published to accompany the exhibition "Bijeli radovi / White Works", at Galerija Zuccato, Poreč, in 2012, by Croatian conceptual artist Mladen Stilinović. Heavily illustrated throughout with his works and installations revolving around the history of his white works (absence, silence...), this catalogue also features texts by Branka Stipančić (including an interview with Stilinović), Mladenka Solman, József Mélyi, and a biography, and bibliography.
Published in an edition of 600 copies.
Mladen Stilinović (April 10, 1947 - July 18, 2016) was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.
1992, English
Softcover, 300 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Indiana University Press / Indiana
$25.00 - Out of stock
January 1992 issue of Camera Obscura (No. 28), the Journal of Feminism and Film Theory published by Indiana University Press. This issue with the theme of "Imaging Technologies, Inscribing Science", with special issue editors Paula A. Treichler and Lisa Cartwright.
Edited by Elisabeth Lyon, Constance Penley, Lynn Spigel, Sharon Willis, with advisory editors Bertrand Augst, Elizabeth Cowie, Mary Ann Doane, Laura Mulvey, Linda Orr, Susan Suleiman, and managing editor Gary Laderman.
camera obscura
A Journal of Feminism and Film Theory/28
Imaging Technologies, Inscribing Science
Special Issue Editors: Paula A. Treichler and Lisa Cartwright
5 Introduction by Paula A. Treichler and Lisa Cartwright
Beyond Cosmo: AIDS, Identity, and Inscriptions of Gender by Paula A. Treichler; Local and Global: AIDS Activism and Feminist Theory by Katie King; Gallo, Montagnier, and the Debate Over HIV: A Narrative Analysis by Jamie Feldman; WAVE in the Media Environment: Camcorder Activism and the Making of HIV TV by Alexandra Juhasz; WAVE in the Media Environment: Camcorder Activism in AIDS; Education by Juanita Mohammed; The Politics of Breast Cancer by Alisa Solomon; Shooting the Mother: Fetal Photography and the Politics of Disappearance by Carol Stabile; On the Cutting Edge: Cosmetic Surgery and the Technological Production of the Gendered Body by Anne Balsamo; Spectatorial Embodiments: Anatomies of the Visible and the Female Bodyscape by Giuliana Bruno; Those Who Squat and Those Who Sit: The Iconography of Race in the 1895 Films of Félix-Louis Regnault by Fatimah Tobing Rony; plus reviews and much more.
Very Good copy.
2024, English
Hardcover, 144 pages, 26.1 x 21 cm
Published by
MoMA / New York
$65.00 - Out of stock
The first-in depth publication to critically investigate the impact of Pope.L’s early performances on his career. With contributions by Stuart Comer, C. Carr, Valerie Cassel Oliver, Adrienne Edwards, Darby English, Malik Gaines, Danielle A. Jackson, Adrian Heathfield, EJ Hill, Thomas J. Lax, Andre Lepecki, Yvonne Rainer, Martine Syms, Martha Wilson.
Pope.L (b. 1955) is a consummate thinker and provocateur whose practice across multiple mediums – including painting, drawing, installation, sculpture, theatre and video – utilizes abjection, humour, endurance, language and absurdity to confront and undermine rigid systems of belief. Spanning works made primarily from 1978 to 2001, member: Pope.L, 1978-2001 features a combination of videos, photographs, sculptural elements, ephemera and live actions. This volume, published in conjunction with an exhibition at The Museum of Modern Art, presents a detailed study of thirteen early works that helped define Pope.L’s career. It features essays by curators, artists, filmmakers and art historians, plus an intervieww and artistic interventions by the artist. These components are supplemented by thirteen detailed plate entries that highlight key details of each work. The entries engage performances that are rooted in experimental theatre such as Egg Eating Contest (1990) and Aunt Jenny Chronicles (1991) as well as street interventions such as Thunderbird Immolation a.k.a. Meditation Square Piece (1978), ATM Piece (1996), and The Great White Way: 22 miles, 9 years, 1 street (2001-2009), among others. Together these works highlight the role of that performance has played within a seditious, emphatically interdisciplinary career that has established Pope.L as an influential force in the history of contemporary art.
2016, English
Softcover, 72 pages, 15 x 22.5 cm
Ed. of 500,
Published by
3-Ply / Victoria
$12.00 - Out of stock
“Despite Mladen’s instruction to read this book when I have no time, when I am very busy, I first ‘properly’ read I have no time when I had a lot of time, while lying in bed in a hospital in the early 1990s. It was then that I began to understand that this small book was more than some small joke. I have no time, I have no time, I have no time… is for me a kind of mantra, to stop and think about what and why I am doing something, anything…Paradoxically the pursuit of laziness requires an active engagement in stealing back time. That activity becomes harder and harder when time seems to accelerate and is consumed by an endless quota of daily tasks (even supposedly art associated) and so this little book, first hand-written in 1978, becomes more and more important (to read properly) through time, especially when you are very busy…”—Kerrie Poliness, Re-print #3: I Have No Time (1983 [1979])
The Re-print project is a curated series that reintroduces out-of-print artist publications to a contemporary audience. The series also exploits the character of the reprints to insert interventions in public archives: introducing material that was never legally deposited, or reinserting previously archived publications in the form of mediated replications, thereby indexing the originals.
The book selected for Re-print #3 is Nemam vremena (1979) [I Have No Time (1979)] (1983) by Mladen Stilinović. The 1983 version was offset printed by Edition Dacic, Tubingen, in an edition of 150 copies. The specific book scanned for this Re-print was loaned from the collection of artist John Nixon.
Nemam vremena (1979) [I Have No Time (1979)] was the first printed version of ‘I Have No Time’, and was an Artist’s Edition, 70 copies. It was offset printed in Zagreb, seven sheets, softcover, stapled, 17.5 x 13.5 cm.
Nemam vremena (1978) [I Have No Time (1978)] was the original version of ‘I Have No Time’. It was handwritten by Mladen Stilinović in pencil on paper, nine sheets (four written on), cardboard covers, stapled, 17 x 24 cm.
Mladen Stilinović (1947—2016) was a Croatian conceptual artist. He was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. He lived and worked in Zagreb, Croatia.
German
Postcard, 10.5 x 15 cm
Published by
Edition Staeck / Heidelberg
$5.00 - In stock -
Joseph Beuys "Sonnenschlitten" postcard published by Edition Staeck, Heidelberg.
Joseph Beuys (1921—1986) was a German avant-garde artist. He was a sculptor, installation artist, performance artist, graphic artist, art theorist, and pedagogue. Beuys was heavily involved in Fluxus and happenings. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate and only rarely acrimonious open public debates on a very wide range of subjects including political, environmental, social and long term cultural trends. He is widely regarded as one of the most influential artists of the second half of the 20th century.
As New.
German
Postcard, 10.5 x 15 cm
Published by
Edition Staeck / Heidelberg
$5.00 - Out of stock
Joseph Beuys "We Are The Revolution" postcard published by Edition Staeck, Heidelberg.
Joseph Beuys (1921—1986) was a German avant-garde artist. He was a sculptor, installation artist, performance artist, graphic artist, art theorist, and pedagogue. Beuys was heavily involved in Fluxus and happenings. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate and only rarely acrimonious open public debates on a very wide range of subjects including political, environmental, social and long term cultural trends. He is widely regarded as one of the most influential artists of the second half of the 20th century.
As New.
2009, English
Softcover (leporello fold), 15.5 x 97 cm
Artist's Ed. of 200,
Published by
Index / Stockholm
$25.00 - In stock -
Mladen Stilinović's "My Sweet Little Lamb" was first published as an artist's book in 1993. Produced with pen and rubber seal on printed paper, it is one of the many important published edition works of the late Croatian conceptual artist, and this recent Artist's edition was published in 2009 by Index, Stockholm, on the occasion of a major exhibition of the artist's books.
This Artist's edition was published by Stilinović in leporello format in an edition of 200 copies.
Mladen Stilinović (1947—2016) was one of the most significant representatives of neo-avant-garde art in Central and Eastern Europe. Stilinović was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. His polymorphic approach finds varied manifestations from collages, installations, photographs, books, performances, actions in public space as well as participations in collective actions. Through his works, Stilinović explores ideological signs and their social aspects. Using devices such as irony, paradox, and manipulation, the artist criticizes the language of politics, institutional hierarchy within art, and the role of money and labor in society. Language is central to his aesthetics; he associates it with graphic signs and other visual references to historical movement, such as geometric abstraction. His work is deeply rooted in the rites that reveal the interdependence of private and public spheres. He is particularly interested in the interaction between visual and linguistic signs as well as in the mechanisms of deconstruction in language. Stilinović also ran the Extended Media Gallery from 1981-1991. He lived and worked in Zagreb, Croatia.
As New.