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.
1978, English
Softcover folder, fold-out loose leaf 1 x 1.5 metres + additional loose leaf piece, 22 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Outback Press / Fitzroy
$200.00 - In stock -
Very rare copy of late Australian artist/compositional linguist/raconteur Chris Mann's epic first published work, Words and Classes — On Having Words, published by Melbourne's Outbackl Press in 1978 in this elaborate artist's book/binder housing an enormous fold-out (approx 1 x 1.5 M unfurled) thick newsprint sheet printed both sides with Mann's experimental texts — poetry, stream-of-consciousness prose, commentaries, dialogues, even a small play — one of the finest examples of Mann's complex and witty exploration of linguistic composition. Includes an additional text work printed and folded inside along with the main work, possibly not originally included.
Chris Mann (1949—2018) was an Australian-American composer, poet and performer specializing in the emerging field of compositional linguistics, coined by Kenneth Gaburo and described by Mann as "the mechanism whereby you understand what I'm thinking better than I do". Mann was the son of German Jewish refugees, Ruth and Peter Mann, who settled in Melbourne and founded the Discurio music store Score record label in the 1960s, producing some of Australia's first recordings of Australian folk music as well as jazz, classical and Aboriginal music. Mann studied Chinese and linguistics at the University of Melbourne, and his interest in language, systems, and philosophy is evident in his work. Mann founded the New Music Centre in 1972 and taught at the State College of Victoria in the mid-1970s. He then left teaching to work on research projects involving cultural ideas of information theory and has been recognized by UNESCO for his work in that field. Mann moved to New York in the 1980s and was an associate of American composers John Cage and Kenneth Gaburo. He has performed text in collaboration with artists such as Thomas Buckner, David Dunn, Annea Lockwood, Larry Polansky, and Robert Rauschenberg. Mann has recorded with the ensemble Machine For Making Sense with Amanda Stewart and others, Chris Mann and the Impediments (with two backup singers and Mann reading a text simultaneously while only being able to hear one another), and Chris Mann and The Use. His piece The Plato Songs, a collaboration with Holland Hopson and R. Luke DuBois, features realtime spectral analysis and parsing of the voice into multiple channels based on phonemes. Mann has also participated in the 60x60 project. Mann taught in the Media Studies Graduate program at The New School. He died in September 2018, survived by his wife and two children.
Very Good copy with some rubbing to folder and tanning to all stocks. Fold-out work As New with age tanning, folded as issued. Edge wear and spine crease to folder.
1974, English
Softcover (staple-bound), 64 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / good
Published by
Khasmik Enterprises / Annandale
$65.00 - Out of stock
Rare copy of the first volume of Khasmik Quarterly, edited by Stefanie Bennett and Margaret McMann and published in 1974 by important small poetry imprint, Khasmik Enterprises, operating from Annandale, NSW. Contributors include: Kate Jennings, Philip Roberts, Ken Bolton, Gary Oliver, Gaby, Robert Adamson, Carol Novack, Rae Desmond Jones, Stefanie Bennett, π.ο., Colleen Burke, Graham Rowlands (reviews Vikki Viidikas' Condition Red), and Cheryl Adamson.
Good—VG copy with tanning, light general wear from age, ex-libris bookplate inserted from collection of Donald Fulton Hall.
1972, English
Softcover (staple-bound), 46 pages, 23 x 14 cm
1st Edition, Out of print title / used / good
Published by
Dark Areas / Adelaide
$45.00 - In stock -
Rare copy of Dark Areas, a small press poetry zine founded in Adelaide in 1971 by Sandy Clark and Jane Donald. This issue (No 5, May 1972) features contributions from a wealth of Australian and international poets, including Jerry Almoots, lau Bradtke, Denise Fraser, Steve Sneyd (U.K.), David McCandless, Andrew Darlington (U.K.), Sally Day, Steve Davey, R. Preston (VIC), Andrew Darlington (U.K.), Phillip Warren (N.S.W.), Evan Rainer (N.S.R.), Annette Hauschild, Rae Desmond Jones (N.S.W.), Joshua Hudd, Colleen McPharlin, Steve Evans, Ralph Miller (A.C.T), Glen Donnellan, Christopher Robin (Qld), Peter, Catherine (N.S.W.), Tan Zing Hai, Stuart Flavell (A.C.T.), Larry Buttrose, Les Davidson, Peter Steven Holmes, Peter Finch (Wales), Peter Murphy (Vic), Lawrence Ferlinghetti (U.S.), Judi Evans, Gary R. Langford (N.Z.), Karen Hughes, Murchie Ewing (Qld), Sue Parham, Alexandra Seddon (Vic), Christopher Polinitz (U.K.), Mark Burford, Rob Andrew (N.S.W.), Plantman (Qld), Graham Rowlands, John Peter Horsam, Alex, Sue Grocke, Sue Germein, Sandy Clark, Rae Desmond Jones, Leanne Temme, D.S. Long (N.Z.), Jane Southcott, Derek Holmes (Vic), Kathie Muir, Roderick Gibson, R. Trinca, Eric Beach (Vic), John Coleman, Donna, Jane Donald, Keith Wilson, plus illustrations throughout, and cover artwork by David Hall. Includes an ex-libris paste-in of "Francis Alfred Wilson".
Good—VG copy, light wear and tear to extremities. Age tanning.
2015, English
Hardcover, 234 pages, 21.6 x 14 cm
1st Edition, Out of print title / used / fine
Published by
Palgrave Macmillan / UK
$65.00 - In stock -
A bold work of synthetic scholarship, Writing Australian Unsettlement argues that the history of Australian literature contains the rough beginnings of a new literacy. Michael Farrell reads songs, letters and visual poems by Indigenous farmers and stockmen, the unpunctuated journals of early settler women, drover tree-messages and carved clubs, and a meta-commentary on settlement from Moore River (the place escaped from in The Rabbit-Proof Fence) in order to rethink old forms. The book borrows the figure of the assemblage to suggest the active and revisable nature of Australian writing, arguing against the "settling" effects of its prior editors, anthologists, and historians. Avoiding the advancement of a new canon, Farrell offers instead an unsettled space in which to rethink Australian writing.
"Writing Australian Unsettlement is a daring and remarkable study of intertextuality and appropriation as poetic tools. Disassembling and reassembling a variety of generic models, he demonstrates with the greatest aplomb how such contemporary techniques as collage, recycling, visualization, and translation are currently reanimating the field of Australian poetry. Only a scholar who is himself a discerning poet could have brought it off so elegantly."—Marjorie Perloff, Emeriti Professor of English, Stanford University, USA
"A brilliantly original piece of critical and scholarly work, Writing Australian Unsettlement is intellectually adventurous, investigating and challenging foundational assumptions of the literary and postcolonial fields. Drawing from an eclectic range of source material and theorists, Michael Farrell makes a major contribution to the rethinking of the postcolonial paradigm as it is currently happening around the globe."—Philip Mead, Professor of Australian Literature, University of Western Australia
Fine copy with only lightest cover wear.
2015, English
Softcover, 208 pages, 21 x 14.5 cm
1st Edition, Out of print title / used / very good
Published by
Collective Effort Press / Melbourne
$35.00 - In stock -
Wonderful anthology of works by Greek-Australian visual poet t h a l i a, edited and introduced by TT. O. and published by Collective Effort Press, Melbourne, which was co-founded by t h a l i a in the 1970s. Issued in 2015 and now out of print, "this exploration into the poetry & poetics of shorthand writing" is packed with t h a l i a's incredible visual poetics, and includes an index and selected bibliography/discography.
"Simone de Beauvoir in the Second Sex sez "It is evident that woman's "character" - her convictions, her values, her wisdom, her morality, her tastes, her behavior are to be explained by her situation". thalia (small-t) was born in 1952 in Katerini / Greece. She migrated to Australia as a child in 1954, and grew up in the working class suburb of Fitzroy in Melbourne. Her family ran a number of cafes, restaurants, and hamburger shops (all mainly fronts for gambling and sly grog outlets). She attended Fitzroy Girls Secondary School, in Bell St., Fitzroy. By the time she reached 3rd Form (aged 14) she was taken out of school (in preference to her brother) to help out in the Milk Bar, as her mother developed acute symptoms of depression and schizophrenia. thalia suffered (and still does) occasional bouts of epilepsy, dyslexia, and ambidextrousness. In 1971 (after the collapse of the Milk Bar business), she attended Stott's Business College in Melbourne to try and get a qualification as a Stenographer & Secretary. She obtained Certificates for both speed and accuracy in typing, shorthand, business practices, and worked at a number of secretarial jobs. During a prolonged exposure to speed typing, and under pressure from managerial tyrants, she developed Tenosynovitis a crippling work related injury affecting the tendons, to hands, elbows, arms and shoulders.
Her involvement in the continued "small magazine explosion" of the late 60s included extensive labours on such magazines: as Fitzrot, 925, thalia publications, Unusual Work, as well as others. Publications of her work include Night Flowers (A6 Books), and thalia new & selected poems (collective effort press), Words Penciled on Paper (a homage to Jas Duke). She was one of the founders of "performance poetry" in Australia, and collective effort press. In a now famous incident (elaborated in Off The Record Penguin Books 1985) she was physically punched in the face by a misogynist who objected to her staging a "women only" reading. The incident "split" the poetry world "in Australia" and particularly "performance poetry" down the middle. [...]—from introduction by TT. O.
t h a l i a (b. 1952) has lived and worked in the inner suburbs of Melbourne and began writing poetry in the 1970s with a particular interest in concrete poetry. Her work has been read on Radios 3CR, 3RRR, 3PBS and Radio ABC and she has read at numerous venues including 'prisons, schools, universities, pubs, festivals and clubs'. She has exhibited her work in Melbourne, Perth, New South Wales and Queensland as well as in Brazil, Canada, Russia, America and Italy.
Very Good copy, light buckling, light wear.
1986—1994, English
Softcover (12 issues), approx 50-80 pages ea., 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
International Synergy Institute / Los Angeles
$600.00 - In stock -
"A thrice yearly exploration of ambiguous borders and dynamic (intellectual/artistic) frontiers."
Exceptionally rare lot of 12 issues (1986—1994) of the trail-blazing subscription-only one-of-a-kind journal published by the International Synergy Institute, a intermedia think-tank active in Hollywood between 1986—1987. IS was founded by American actress and philanthropist Andra Akers (Charlie's Angels, Dallas, Dukes of Hazzard...), edited by experimental composer, researcher and Harry Partch Ensemble member David Dunn, with a cast of incredible contributors spanning these issues that includes media theorist Gene Youngblood (Expanded Cinema...), Australian composer, poet and performer Chris Mann, American ethnobotanist Terence McKenna, American artist Bill Viola, American landscape architect Bonnie Sherk, parapsychologist Rupert Sheldrake, mathematician Ralph Abrahams, composer Kenneth Gaburo, Australian experimental composer Warren Burt, early media artist visionaries Kit Galloway and Sherrie Rabinowitz (Mobile Image, the Electronic Café...), Science Fiction theorist, philosopher and writer for Marvel comics Allyn B. Brodsky, American composer and writer Elaine Barkin, visionary Czech author Lukáš Tomin, aeronautical engineer and astronaut Russell Schweickart, mathematician and polymath Tim Poston, climate crisis artists Newton and Helen Mayer Harrison, American composer John Bischoff, cultural historian William Irwin Thompson, ecological philosopher and author Boleslaw Rok, essayist and activist Tomaž Mastnak, Chilean biologist and philosopher Francisco Varela, artist Michael Kalil, systems theorist Will McWhinney, percussionist and composer Stuart Saunders Smith, mathematician Gottfried Mayer-Kress, alternative broadcaster Jay Levin, British-American futurist Hazel Henderson, actress Debra Clinger (The Love Boat, The Krofft Supershow, Midnight Madness, The Brady Bunch Variety Hour...), musician Mark Trayle, artist Sheila Pinkel, VFX pioneer Mimi Gramatky (LOST, Miami Vice, Star Trek, Tron, Damnation Alley...), sonic healer Jill Purce, robot dance choreographer Margo K. Apostolos, American psychedelic artist Alex Grey, social critic and historian Morris Berman, futurist Riane Eisler, poet James Bertolino, British zoologist, anthropologist and author John Heathorn Huxley, multi-media artist Todd Siler, American philosopher of science Ervin László, Budapest dissident magazine Magyar Narancs, and more.
Issues present: #0, #1, #2, #3, #4, #5, #9, #10, #11, #12, #13, #14 (12 issues total, not all pictured)
"INTERNATIONAL SYNERGY consists of a global network of vanguard artists, scientists, and meta-physicians who are united by a deep sense of commitment to crossing the boundaries of their individual disciplines. Integral to this awareness is a reconciliation between advanced technological resources and a sense of the planet's sanctity. INTERNATIONAL SYNERGY is dedicated to the premise that such an understanding can form the basis of a creative matrix for responsible action in the information age."
"At this hinge of history, it seems appropriate that we should publish a journal where the passion of the individual scientist/artist can meet in sovereign association with global concerns — spinning the wheel of knowledge so that each of us can create our own theoretical magic." [...] "I am deeply moved by the creative commonwealth in this community, filled with explorers of topology, morphology, chaos dynamics, cognition, mind video, the revisioning of nature and art, telecommunications, sonics, cybernetics, cultural history, fractal politics, and what it now means to be deeply human. The provocative interaction of these ideas cannot help but to create a new and uniquely meaningful story. Come with us."—Andra Akers
Most Good—Very Good, with a couple of issues Average (mostly due to cover rubbing or creasing), all with light wear/age.
1985—1990, English
Softcover (broadsheet folded 4 times), 30 x 21 cm (folded)
1st Edition, Out of print title / used / good
Published by
Nosukumo / Melbourne
$150.00 - Out of stock
Rare lot of 3 issues of short-lived Melbourne experimental poetry broadsheet, The Carrionflower Writ, 'An art and literary broadsheet issued on an irregular basis', edited by Javant Biarujia and published by Biaruji's own Nosukumo Press, Melbourne, between 1985—1990. Each issue takes the form of a large fold-out broadsheet, two-colour printed on differing paper stocks, full of experimental type-setting and beautiful illustrations and devoted to Australian 'poetry on the margins' Poets included throughout its short history included Javant Biarujia, Ian Birks, Kris Hemensley, Chris Mann, Raimondo Cortese, Pete Spence, Jurate Sasnaitis, C.E. Roberts, Philip Sipp, Adrian Rawlins, amongst others.
"Javant Biarujia is an iconoclastic Australian poet, at once an unparalleled linguistic confabulator and an exponent of Melbourne avant-garde poetics since the 1970s. Biarujia's work marks out its own historical forebears and familiars in a way that I believe — although absolutely in association with contemporary histories of poetry such as American Language poetry, Australian bricolage, and European surrealism — happens to hybridise baroque linguistic ingenuity with deconstructive collage and games of poetic reality that defy straightforward historical alignment"—Corey Wakeling, Cordite Poetry Review
Good copies all with degrees of tanning and light wear. Folded as issued.
1980, English
Softcover, 33 leaves, 16 x 13 cm
1st Edition, Out of print title / used / good
Published by
Gregory Eiffe / Novar Gardens
$35.00 - In stock -
Rare Australian experimental phonetics typeface book self-published in 1980 by South Australian Interface Artist, writer and developer, Greg Eiffe. Hand-bound, this rather uncategorisable texual experiment/introductory educational study presents like a conceptual language artwork or concrete poetry book, the text reproduced photographically from computer video screen by the artist. "During the early days of personal computing, circa 1980, typing in programs was the main activity. I myself bought an Apple II in early 1979, carried a small U.S. television home from San Francisco, and, using a step-down transformer, was likely the first Apple Computer customer in my home state of South Australia." This book concerns the Soundex algorithm, which breaks down words (in English,) to their phonetic core in order to compare them, and more importantly, match them, with less specific criteria than perfect spelling, allowing for words to be compared phonetically.
Greg Eiffe's work as a writer/developer since the 1970's spans experimental poetry work and film/video foraying into an increasing engagement with language and computers. 'Interface Art', his chief concern, is the interface between the human mind and reality as mediated by language. He has published many books on such subjects.
Good copy, light general wear/age/light creasing to covers.
1974?, English
Softcover (staple-bound), 72 pages, 20.5 x 14.5 cm
Signed copy,
1st Edition, Out of print title / used / very good
Published by
Noel Sheridan / Adelaide
$160.00 - In stock -
Very rare and terrific conceptual art/poetry book (c.1974) by performance artist, poet, actor, "amateur painter" and exceptionally valuable director of the Experimental Art Foundation (EAF) in Adelaide from 1975—1980, Noel Sheridan (1936—2006). Founded by a small group of artists, curators and theorists, the EAF was heralded as the first alternative art space in Australia, with a mission to promote art that interrogated the status quo. Seemingly self-published in 1974 once Irish-born Sheridan had relocated to Adelaide, and the year before Sheridan's controversial "Everybody Should Get Stones" installation at the Art Gallery of South Australia, composed of 25 tonnes of river stones strewn across the gallery's floor, "Everybody Should Get Stones" is a remarkably witty, instructional language-performance piece around collecting stones on a beach, very much in the Oulipo spirit, or Fluxus.
"These procedures are intended to bring a greater precision to your quality ascriptions. Initial tests were carried out by J. Neuner and N. Sheridan on Coynes cross beach, due east of Newcastle, Co. Wicklow, Ireland, during the Summer months of 1971. It is not essential to use the above location to perform these exercises. Any stony beach will do. Select an area of beach and begin."
Broken into four parts, from selection methods that are irrational and unpredictable, to mathematically exhaustive, to literary (the selection of stones that are most apt to specific quotes from Beckett, Goethe, Wittgenstein, Galvani, Descartes, Hume, and Sheridan's beloved fellow-Irishman Joyce, amongst many others — all reproduced).
Only one copy located on WorldCat (in Dublin).
This copy signed by Noel on the title page with dedication to American-Australian experimental composer Warren Burt. "For Warren, may all your penguins be green. Noel". Irish-born Noel was fondly known for his wardrobe of green attire. Very Good copy with tanning/wear to cover extremities.
1986, English
Softcover (staple-bound), 24 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
International Synergy Institute / Los Angeles
$150.00 - Out of stock
"A thrice yearly exploration of ambiguous borders and dynamic (intellectual/artistic) frontiers."
Exceptionally rare, inaugural issue #0 of the trail-blazing subscription-only journal published by the International Synergy Institute, a intermedia think-tank active in Hollywood between 1986—1987. IS was founded by American actress and philanthropist Andra Akers (Charlie's Angels, Dallas, Dukes of Hazzard...), edited by experimental composer, researcher and Harry Partch Ensemble member David Dunn, with a cast of contributors for this first issue including media theorist Gene Youngblood (Expanded Cinema...), parapsychologist Rupert Sheldrake, VFX pioneer Mimi Gramatky (LOST, Miami Vice, Star Trek, Tron, Damnation Alley...), mathematician Ralph Abrahams, composer Kenneth Gaburo, and poet Chris Mann, and more.
"INTERNATIONAL SYNERGY consists of a global network of vanguard artists, scientists, and meta-physicians who are united by a deep sense of commitment to crossing the boundaries of their individual disciplines. Integral to this awareness is a reconciliation between advanced technological resources and a sense of the planet's sanctity. INTERNATIONAL SYNERGY is dedicated to the premise that such an understanding can form the basis of a creative matrix for responsible action in the information age."
"At this hinge of history, it seems appropriate that we should publish a journal where the passion of the individual scientist/artist can meet in sovereign association with global concerns — spinning the wheel of knowledge so that each of us can create our own theoretical magic." [...] "I am deeply moved by the creative commonwealth in this community, filled with explorers of topology, morphology, chaos dynamics, cognition, mind video, the revisioning of nature and art, telecommunications, sonics, cybernetics, cultural history, fractal politics, and what it now means to be deeply human. The provocative interaction of these ideas cannot help but to create a new and uniquely meaningful story. Come with us."—Andra Akers
Very Good copy, light wear/age.
1986, English
Softcover (staple-bound), 52 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
International Synergy Institute / Los Angeles
$150.00 - In stock -
"A thrice yearly exploration of ambiguous borders and dynamic (intellectual/artistic) frontiers."
Exceptionally rare, issue #1 (after the inaugural #0) of the trail-blazing subscription-only journal published by the International Synergy Institute, a intermedia think-tank active in Hollywood between 1986—1987. IS was founded by American actress and philanthropist Andra Akers (Charlie's Angels, Dallas, Dukes of Hazzard...), edited by experimental composer, researcher and Harry Partch Ensemble member David Dunn, with a cast of contributors for this issue including early media artist visionaries Kit Galloway and Sherrie Rabinowitz (Mobile Image, the Electronic Café...), media theorist Gene Youngblood (Expanded Cinema...), Science Fiction theorist, philosopher and writer for Marvel comics Allyn B. Brodsky, aeronautical engineer and astronaut Russell Schweickart, cultural historian William Irwin Thompson, systems theorist Will McWhinney, actress Debra Clinger (The Love Boat, The Krofft Supershow, Midnight Madness, The Brady Bunch Variety Hour...), VFX pioneer Mimi Gramatky (LOST, Miami Vice, Star Trek, Tron, Damnation Alley...), and more.
"INTERNATIONAL SYNERGY consists of a global network of vanguard artists, scientists, and meta-physicians who are united by a deep sense of commitment to crossing the boundaries of their individual disciplines. Integral to this awareness is a reconciliation between advanced technological resources and a sense of the planet's sanctity. INTERNATIONAL SYNERGY is dedicated to the premise that such an understanding can form the basis of a creative matrix for responsible action in the information age."
"At this hinge of history, it seems appropriate that we should publish a journal where the passion of the individual scientist/artist can meet in sovereign association with global concerns — spinning the wheel of knowledge so that each of us can create our own theoretical magic." [...] "I am deeply moved by the creative commonwealth in this community, filled with explorers of topology, morphology, chaos dynamics, cognition, mind video, the revisioning of nature and art, telecommunications, sonics, cybernetics, cultural history, fractal politics, and what it now means to be deeply human. The provocative interaction of these ideas cannot help but to create a new and uniquely meaningful story. Come with us."—Andra Akers
Very Good copy, light wear/age.
1989, English
Softcover (bound with Boston screws + text insert), 100 pages, 30 x 21 cm
Signed copy,
1st Edition, Out of print title / used / very good
Published by
Post Neo / Elwood
Irregular Brain Post / Elwood
$250.00 - In stock -
Mysterious, extremely rare and totally great artist's visual poetics book by one C.E. Roberts (aka Cerebral Shorts, or Charles Roberts, publisher of Convolusions: Of the Irregular Brain Post) and published in Melbourne in 1989 by Australian poet and mail artist Pete Spence's Post Neo imprint and Roberts' own Irregular Brain Post, Elwood. Bound with three Chicago screws, this 100 page work is really something. Each page is lettered and made up of three columns of information — the first column presents a changing pictorial graphic tile; the second titled "AUDIO (disinformation)" containing a stream-of-conscious type of observational/internal monologue that chops and loops without punctuation over memories of explicit sexual encounters and visions of flowers (and much between); and a third titled "VIDEO (misinformation)" made up of concise text thoughts/statements/scenes, and introduces us to a series of fictional(?) films entitled: 'Fag Hunt', 'Business Hunt', Skinny Hunt', 'Witch Hunt", etc. A chyron of text runs across the bottom of each page like a broadcast, also, spanning the entire book, creating a multi-channel text work that is delirious, monotonous, philosophical, absurd, horny, and devastating. Decadent, even pataphysical/Oulipo tendencies fractured through a postmodern interface of schizo-queer cyber-poetics. It's terrific and almost doesn’t exist.
No copies located on WorldCat.
This copy signed by Roberts with a dedication to "WB" (Australian experimental composer Warren Burt) with a simple "BLAH HUMBUG" — CS. Also contains an inserted "bookmark" small scrap of paper with a penciled original text by Roberts about the crucified body.
Very Good copy with light age/tan line to spine cover edge.
1989—1990, English
5 publications, softcover (staple-bound + rubber-stamped), approx 20 pages ea., 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Cerebral Shorts / Elwood
Irregular Brain Post / Elwood
$180.00 - Out of stock
Rare lot of 5 issues of Convolusions: Of the Irregular Brain Post — dating between July 1989—January 1990. Rare Visual Poetry / Mail Art zine issued by post in the late 1980s—early 1990s by Australian visual poets Cerebral Shorts and Pete Spence, each issue packed with border-busting international postal network contributions of photocopy artworks (collages, photographs, etc.) and texual collage/poetry, prose works, with notes, "missing peoples", radical texts, and classifieds/call-outs for other international mail-art publications. Contributors amongst these issues include: Shozo Shimamoto (Japan), Satan Panonski (Jugoslavia), Julie Clarke-Powell (Australia), Guy Bleus (Belgium), Ry Nikonova (USSR), STOP AIDS (USA), Ivica Čuljak (Yugoslavia), Géza Perneczky (West Germany), Monty Cantsin (Canada), David Powell (Australia), Ruggero Maggi (Italy), Shaun Robert (England), Jonas Nekrašius (USSR), Pete Spence (Australia), Emilio Morandi (Italy), Sándor Fodor (Romania), Miroslav Janoušek (Czech), Javant Biarujia (Australia), to name a few... Back cover of each issue features multi-coloured original rubber stamp/print gocco art. An important piece of the very under-documented Melbourne visual poetry / mail art “scene”.
Based in Kyneton, Victoria, Pete Spence (b. 1946) has been internationally active in Mail Art, Visual Poetry, Experimental Film, and Lyric Verse throughout the 1980s—2000s, founding Post Neo Publications in 1984 to publish works by Luc Fierens, Hannah Weiner, Berni Janssen, Alex Selenitsch, and others. His own first book, FIVE Poems, was published in 1986 by Nosukomo. For over four decades he has been quietly pursuing his own direction in this multiplicity of art forms but in particular in his witty, idiosyncratic, entertaining poetry.
Good—VG copy, rusting to one staple.
1989, English
Softcover (staple-bound), 24 pages, 22 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Heide Museum of Modern Art / Victoria
$45.00 - Out of stock
Scarce but important exhibition catalogue of visual poetry in Australia, held at Heide Park and Art Gallery on 7 March—23 April 1989. Features the work of π.o., Mike Parr, Pete Spence, Richard Kelly Tipping, Alan Riddell, Alex Selenitsch, Christopher Brennan, Karen Cherry, Ruth Cowen, R.J. Deeble, Dryblower (Iroz), Jas H. Duke, James Gleeson, Garrie Hutchinson, Frederick May, Peter Murphy, thalia, Sweeney Reed. Illustrated throughout with visual examples of all featured artists/poets, alongside artists statements, biographies, catalogue of works, bibliography, list of important periodicals, articles, etc. An excellent reference for any library of Australian visual/concrete/experimental poetry. Introductory essay by Australian librarian, poet, and literary editor, Barrett Reid (1926–1995).
VG copy, light wear.
1970, German / French
Softcover, 118 pages, 21 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Zürcher Kunstgesellschaft Helmhaus Zürich / Zürich
$160.00 - Out of stock
Rare, important exhibition catalogue designed by Walter Diethelm, published on the occasion of the exceptional exhibition Text Buchstabe Bild (Text, Letter, Image), held at the Zürcher Kunstgesellschaft Helmhaus Zürich, July 11—August 23, 1970. Preface by Felix Andreas Baumann. "The point is to present this literature, which is located between writing and images, text and graphics and around the tertium comparationis of typography, to an audience that is probably not too familiar with the techniques and variants of “concrete literature”—from the preface. An incredible and varied anthology of the experimental, poetic, graphic interplay of text and image, profusely illustrated in b/w, accompanied by texts in German and French by Stéphane Mallarmé, F.T. Marinetti, Tristan Tzara, Oyvind Fahlström, El Lissitzky, André Breton, Eugen Gomringer, Augusto de Campos, Decio Pignatari, Haroldo de Campos, Jan Hamilton Finlay, Pierre Garnier, Max Bense, Reinhard Döhl, Carlfriedrich Claus, Seiichi Niikuni, Henri Chopin, Franz Mon, Jiri Kolár, and Bob Cobbing.
Artists included: Stéphane Mallarmé, Arno Holz, Christian Morgenstern, F.T. Marinetti, Carlo Carrà, Lacerba, Ardengo Soffici, Hugo Ball, Georges Braque, Ernst Ludwig Kirchner, Amédée Ozenfant, Guillaume Apollinaire, Marcel Janco, Tristan Tzara, Raoul Hausmann, Fernand Léger, Richard Hülsenbeck, Vincente Huidobro, Francis Picabia, Jean Pougny, Kurt Schwitters, Paul Klee, Bruno Adler, Jean Epstein, Theo Van Doesburg, El Lissitzky, Jozef Peeters, Sonja Delaunay-Terk, Iliazd, Friedrich Kiesler, Man Ray, László Moholy-Nagy, Käthe Steinitz, Kurt Schwitters, Theo van Doesburg, Hans Arp, Friedrich Vordemberge-Gildewart, Henryk Berlewi, Farkas Molnár, Zenit, Hendrik Nicolaas Werkmann, Walter Gropius, John Heartfield, Marcel Duchamp, Le Corbusier, and Georges Hugnet.
Very Good ex-NGV library copy, well preserved with only light wear and "National Gallery of Victoria" light stamp to block edge and lower back-cover. No internal stamping/marking.
1999, French
Softcover (+ audio cd), 68 pages, 30 x 24 cm
Limited edition, numbered,
1st Edition, Out of print title / used / fine
Published by
Éditions Licences / Paris
$70.00 - In stock -
Scarce issue 0 from 1999 of the French journal/concert series/exhibition program Licences, the short-lived Revue-Disque periodical established by French composer Alexandre Yterce (b. 1959) devoted to Perversions, Voluptuousness and Sexualities, presenting unseen erotic works by artists, alongside rare interviews, texts and recorded performances and unreleased audio recordings, melding the worlds of transgressive, transformative sound, word and body. Texts, interviews photography, artworks and audio recordings by Henri Chopin, William Burroughs, Nicolas Zurrbrugg, Elisabeth Prouvost, Raoul Haussmann, Alexandre Yterce, Kenneth Gaburo, François Dufrène, and more.
Published in a limited edition, this copy hand-numbered "581". CD included. Also includes many laid-in ephemeral pieces — concert programs, promotional items for the periodical, business card, etc.
VG—NF copy.
1998, English
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert card preserved. Rare!
text in 12 & 18pt courier bold
set off macintosh word 5.1
photocopied onto 80 gsm bond
black pages of cover flap stock
modified by hand
cover hand-set in 10 & 12pt typewriter
and printed by John Ryrie
on village paper
published in an edition of 26 copies
this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems & pages 1998 Alex Selenitsch
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1999, English
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert card preserved. Rare!
texts in 12pt and 24pt mishawaka bold
set off macintosh word 5.1 and photocopied on 80gsm bond
bookmark photocopied on tablex card and hand-punched
cover hand-set in various types and printed by John Ryrie on 160gsm "lime" canson mi-tientes
in an edition of 26 copies
this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems c 1999 Alex Selenitsch
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1999, English
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert die-cut card preserved. Rare!
"= signs photocopy-enlarged
and hand-cut-and-pasted
texts in 9pt(light)/12pt(bold)/24pt (bold) courier
set off macintosh word 5.1
photograph by Nick Selenitsch
scanned/edited by Sean Doyle
book photocopied on 80gsm bond
bookmark photocopied on tablex card
cover hand-set
and printed by John Ryrie on 160 gsm "azure" canson mi-tientes
in an edition of 26 copies this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems and sculpture c 1999 Alex Selenitsch
photograph c 1999 Nick Selenitsch
sculpture installed at the Kangaroo Sculpture Award 1999 Kangaroo Ground, Victoria, Australia
"eekaal" by π.ο.
from The Fitzroy Poems, Collective
Collective Effort Press 1989"
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1998, English / German
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert card preserved. Rare!
texts in 10pt and 24pt courier bold set off macintosh word 5.1 and photocopied on 80gsm bond
bookmark photocopied on tablex card
cover hand-set in 18pt typewriter and printed by John Ryrie on 160gsm "moonstone" canson mi-tientes
in an edition of 26 copies this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems C 1998 Alex Selenitsch
translation of introduction C Angela Haas
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
2009, English
Hardcover, 318 pages, 22.5 x 28.7 cm
1st Edition, Out of print title / as new
Published by
Mark Batty / US
$440.00 - In stock -
Exceptionally rare, collectible first edition hardcover volume of Notations 21, the anthology drawing inspiration from John Cage's Notations. Notations 21 features illustrated musical scores from more than 100 composers from every continent, all of whom are innovators in the art of notation. Each score is accompanied by written contributions from the artists, explaining how the music manifested visually, exploring every facet of their creative processes, from inspiration to execution. Contributors include the likes of Karlheinz Stockhausen, Earle Brown, Halim El-Dabh, Joan La Barbara, and Yuji Takahashi, as well as emerging composers whose compositions are visually astounding and important. In the spirit of honuoring the 40th anniversary of Cage's seminal book, while furthering it in a 21st century context, a portion of the sales of this book were donated to the Foundation for Contemporary Performing Arts.
Includes: Victor Adan, Beth Anderson, Kerry John Andrews, Steve Antosca, Cecilia Arditto, Robert Ashley, Kevin Austin, Trevor Bača, Dennis Báthory-Kitsz, Steve Beck, Irene Becker, Cathy Berberian, David Berezan, Carl Bergstrøm-Nielsen, Philip Blackburn, Benjamin Boretz, Sam Britton, Earle Brown, Herbert Brün, Ellen Burr, John Cage, Allison Cameron, Joe Catalano, Raven Chacon, Chris Chalfant, Jef Chippewa, Kyong Mee Choi, Henrik Colding-Jørgensen, Nick Collins, David Cope, Philip Corner, Brent Michael Davids, Tina Davidson, Mario Diaz de Leon and Jay King, Robert Denham, Halim El-Dabh, Robert Erickson, Pozzi Escot, Julio Estrada, Rajmil Fischman, Robert Fleisher, Christopher Fox, Bruce L. Friedman, Guillermo Galindo, Malcolm Goldstein, Daniel Goode, Guillermo Gregorio, Barry Guy, Barbara Heller, Brian Heller, William Hellermann, Mara Helmuth, Sven Hermann, Christoph Herndler, Alan Hilario, Robin Hoffmann, Peter Hölscher, Tsai-yun Huang, Christoph Illing, Lynn Dob, David Evan Jones, John Kannenberg, Suk-Dun Kim, Panayiotis Kokoras, Slavek Kwi, Joan La Barbara, John Lane, Mark Lanqford, Hope Lee, Cheryl E. Leonard, Charlotte Lindvang, Anestis Logothetis, Bent Lorentzen, Martin Sebastian Loyato, Michael Maierhor, Tyler Mains, Keeril Makan, Dan Marmorstein, Dimitris Maronidis, Tony Martin, Kate Maxwell, Cilia McQueen, Rajesh Mehta, Ann MiUikan, Rene Mogensen, Stephen Montague, Robert Morris, Gordon Mumma, Gaël Navard, Phill NibLock, Gary Noland, Makoto Nomura, Eoin O'Keeffe, Pauline Oliveros - Vagn E. Olsson, Paul Paccione, Marianthi Papalexandri-Alexandri, Brice Pauset, Tommaso Perego, Joe Pignato, Jonathan Pitkin, Samuel Pluta, Larry Polansky, Alwynne Pritchard, Anthony J. Ptak, Takayuki Rai, Randy Raine-Reusch, Jon Raskin, Henrik Ehland Rasmussen, Herman Rechberger, Will Redman, Wendy Reid, Steve Roden, Dirk Rodney, Keren Rosenbaum, David Rosenboom, Marina Rosenfeld, Daniel Rothman, Theresa Sauer, R. Murray Schafer, León Schidlowsky, Catherine Schieve, Daniel Schnee, Brian Schorn, Barry Schrader, Phillip Schulze, Michael J. Schumacher, Elliott Sharp, Marilyn Shrude, Stuart Saunders Smith, Juan Maria Solare, Mathias Spahlinger, Jack W. Stamps, John Stead, Norbert Stein, Hans-Christoph Steiner, Peter Sterk, Karlheinz Stockhausen, John Stump, Chiyoko Szlavnics - Yuji Takahashi, Justinian Tamusuza, John Tchicai, James Tenney, Voya Tonecitch, Laura Toxvaerd, Jeffrey Trevino, Andrea Vaile, J. Simon van der Walt, Ivan Vincze, Stephen Vitiello, Douglas C. Wadle, Jennifer Walshe, Clive Wilkinson, Michael Winter, René Wohlhauser, Ge-Suk Yeo, David Young, Katherine Young and Jonathan Zorn, Judith Lang Zaimont, Edson Zampronha, Peter Zombola, Jonathan Zorn, Richard Carlyon, Philip and Gayle Neuman, Morgan O'Hara...
As New copy.
1983, English
Softcover (staple-bound w. program insert), unpaginated, 23 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Edwin Denby Memorial Fund / New York
$50.00 - In stock -
A rare publication privately issued by the Edwin Denby Memorial Fund, New York, on the occasion of a tribute presented by the St. Mark's Church Poetry and Danspace Projects, and the Eye and Ear Theater, Inc., in association with the Dance Collection, The New York Public Library, in November 1983, shortly after the passing of the great modern poet and dance critic. With cover artwork by Alex Katz, the book includes four poems by Edwin Denby accompanied by photographs by Rudy Burckhardt. Laid in is a program for "An Evening for Edwin Denby," Nov. 2, 1983 held at The Poetry Project, St. Mark's Church, including poetry readings, tributes, and dances. Participants included Bernadette Mayer, Bob Holman, Lucinda Childs, John Ashbery, Douglas Dunn, and Anne Waldman, among others. The NY Public Library tributes include speeches, films, and an exhibition of artworks, with participants inc. Merce Cunningham, Willem de Kooning, Red Grooms, Paul Taylor, John Ashbury, George Jackson, Mimi Gross, Alex Katz, Marcia Siegel, Rudy Burckhardt, Joe Brainard, and many more.
Edwin Denby (1903—1983) was a modernist poet and the most important and influential American dance critic of this century. Earning a degree in gymnastics in Vienna, his reviews and essays, which he wrote for almost thirty years, were possessed of a voice, vision, and passion as compelling and inspiring as his subject. He was also a poet of distinction — a friend to Frank O'Hara, James Schuyler, and John Ashbery. Though many of his poems are sonnets, his improvisational attention to urban movement plays against the form’s constraint. He is the author of the poetry collections In Public, In Private (1948), Mediterranean Cities (1956), Snoring in New York (1974), The Complete Poems (1986), and Dance Writings and Poetry (1998). His reviews and essays on ballet appeared in Modern Music, the New York Herald Tribune, Ballet, and Dance Magazine, and he wrote two critical books on the art: Looking at the Dance (1949) and Dancers, Buildings and People in the Streets (1965). Denby’s honors included a Guggenheim Fellowship. He died in 1983.
Good copy overall but with some bug nibbles to the front cover, light wear and tanning to extremities.
1998, English
Softcover (staple bound), unpaginated, 30 x 21 cm
1st Edition, Out of print title / as new
Published by
Artfan / Melbourne
A Constructed World / St. Kilda
$10.00 - In stock -
Artfan No. 7 (Autumn 1998) — "Rock On" issue. Features artworks by Callum Morton, Marco Fuscinato, Stephen Prina, Mutlu Çerkez, and many others. "Rock and Roll’s utopian drive, charged by solid state and valve technology, sexuality, pleasure and drugs, has powered a global sense of desire and community since the 50’s. Artfan 7 is a collaboration between contributing editors, Callum Morton (Melbourne), Sarah Seager (Los Angeles), and Terry Urbahn (Wellington). Using Rock On as the point of entry, artists from three countries tell something about their recent history, vinyl, unfulfilled desires, and other sexy stuff."
Artfan (Contemporary Art Review Magazine to Read) is a magazine published by artists Geoff Lowe and Jacqueline Riva in St. Kilda, Melbourne, who have been working together as A Constructed World since 1993 when they founded the magazine. Each issue is an international collaboration between the contributing editors, filled with artworks and texts, the magazine is largely centred around illustrated exhibition reviews by artists and writers, and many memories of a bygone Melbourne.
A Constructed World is the collaborative project, founded in 1993, of Geoff Lowe and Jacqueline Riva, based in Paris, France. ACW believe in the notion of collectivity. Their practice is concerned with the multiple narratives we use to construct and understand our world. They encourage the exchange of ideas and embrace the idea of chaos. Influenced by post-structuralism and relational aesthetics, ACW explores how reality is perceived through cultural models.
As New.
1980, English
Softcover, 72 pages, 24.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
Aspect Publications / Scotland Island
$50.00 - Out of stock
Special "Visual Poetry" issue of Aspect, a small press "Art and Literature" magazine edited by Australian playwright and poet, Rudi Krausmann, and published out of Scotland Island, NSW, between 1975—1989.
This issue, Vol. 4/4, 1980, with contributions by Richard Tipping, Nicholas Zurbrugg, Jas H. Duke, π.O., Noel Sheridan, Alex Selenitsch, Murray Bail, Peter Anderson, Gary Catalano, Dal Stivens, Ann Taylor, Grant Caldwell, Anna Couani, Liliana Rydzynski, Peter Skrzynecki, Richard James Allen, Madge Staunton, Kate Lilley, Stephen K. Kelen, Christopher Mooney, Russel Soaba, Harry Roskolenko, Jutta Brueckner, Nicholas Pope, Tim Storrier, Arthur McIntyre, Annette Onslow, and of course Rudi Krausmann. Contributing editors Franco Paisio, John Olsen, John Tranter, James Cowan, Tom Thompson, John Davies, Gary Catalano, Jenny Zimmer, Jennifer Compton, Horst Bienek, David Aspden.
Good copy, if not for some bug nibbles to the top of the cover it would be a Very Good copy with moderate age/page tanning.