World Food Books is a book shop in Melbourne, Australia.
Founded in 2010, World Food Books is a book service dedicated to the presentation of a rotating, hand-selection of quality international art and design journals, artists’ monographs, exhibition catalogues, artists’ editions, collected writings and printed ephemera.
Presenting new titles alongside rare and out-of-print publications spanning the fields of contemporary art, modern art, cultural theory, photography, film, poetry, fiction, fashion, architecture, interior design, typography, illustration, politics and much between, World Food Books wishes to encourage active and thoughtful reading, looking, writing, publishing, and exchanging of art and design press, both contemporary and historical.
As well as our book shop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service. We also have outposts at MUMA (Monash University Museum of Art) and Westspace, both also in Melbourne.
World Food Books semi-regularly co-ordinates "Occasions", a program 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
Studio 19, Level 3
37 Swanston Street
FRI 12-7 PM
SAT 12-4 PM
& OPEN BY APPOINTMENT
MAIL ORDER RUNS EVERY DAY
World Food Books
PO Box 435
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Fiction / Poetry
Film / Video
Sculpture / Installation
Performance / Dance / Theater
Sound / Music
Group Shows / Collections
Illustration / Graphic Art
Ceramics / Glass
Italian Radical Design / Postmodernism
"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.
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.”
“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".
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.
at Minerva, Sydney (curated 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
“...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.
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
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
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.
2 volume soft cover in hardcover slip case, 240 pages (b&w ill.), 25.4 x 17.8 cm
Published by Semiotext(e) / Los Angeles
$95.00 - In stock -
The legendary 1975 “Schizo-Culture” conference, conceived by the early Semiotext(e) collective, began as an attempt to introduce the then-unknown radical philosophies of post-’68 France to the American avant-garde. The event featured a series of seminal papers, from Deleuze’s first presentation of the concept of the “rhizome” to Foucault’s introduction of his History of Sexuality project. The conference was equally important on a political level, and brought together a diverse group of activists, thinkers, patients, and ex-cons in order to address the challenge of penal and psychiatric institutions. The combination proved to be explosive, but amid the fighting and confusion “Schizo-Culture” revealed deep ruptures in left politics, French thought, and American culture.The “Schizo-Culture” issue of the Semiotext(e) journal came three years later. Designed by a group of artists and filmmakers including Kathryn Bigelow and Denise Green, it documented the chaotic creativity of an emerging downtown New York scene, and offered interviews with artists, theorists, writers, and No Wave and pre-punk musicians together with new texts from Deleuze, Foucault, R. D. Laing, and other conference participants.This slip-cased edition includes The Book: 1978, a facsimile reproduction of the original Schizo-Culture publication; and The Event: 1975, a previously unpublished and comprehensive record of the conference that set it all off. It assembles many previously unpublished texts, including a detailed selection of interviews reconstructing the events, and features Félix Guattari, William Burroughs, Kathy Acker, Michel Foucault, Sylvère Lotringer, Guy Hocquenghem, Gilles Deleuze, John Rajchman, Robert Wilson, Joel Kovel, Jack Smith, Jean-Fran?ois Lyotard, Ti-Grace Atkinson, François Peraldi, and John Cage.
Due to the weight of this volume, your order will likely incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
2016, English / Italian
Softcover (w. dustjacket), 496 pages, 23 x 31 cm
Published by A+m Bookstore / Viaindustriae
$104.00 - In stock -
The ultimate compendium of counterculture press in the United States and the Netherlands during the heady decades of the 1960s and ’70s, this volume is the definition of sex, drugs, and rock ‘n roll. From underground pornography, free love, anti-establishment anarchism, and Provo, to anti-war protests, spiritual empowerment, the Black Panthers, and women’s liberation, it’s all here. Page after page of magazine covers, articles, advertisements, and clippings encapsulate the era when academia revolted, gays marched in the streets, and hippies wondered if Jesus got high, too. Newspapers and magazines included are Aloha, American Avatar, Avatar, Bauls, Berkeley Barb, Berkeley Tribe, Big Muddy Gazette, Countdowm, East Village The Other, Fapto, Fire!, Freedom News, Friends, Gay, Gay Power, Gay Scene, Gay Sunshine, Georgia Straight, Good Times, Haight Ashbury Eye, Haight Ashbury Free Press, Haight Ashbury Love Street, Haight Ashbury Maverick, Haight Ashbury Tribune, Harbinger, Helix, Hitweek, Idiot International, Iets, Insekten Sekte, Juche, Kabouter Krant, Kaleidoscope, King Kong International, Kiss, Klaas Krant, Liberated Guardian, Los Angeles Free Press, Mondo Beat, Muhammad Speaks, Nola Express, Old Mole, Open City, Oracle Los Angeles, Oracle San Francisco, Other Scenes, Peninsula Observer, Pic up, Pleasure, Provo, Quicksilver Times, Rampage, Rat, Real Free Press, Re Nudo, Rising Up Angry, Royal World Countdown, San Francisco Ball, San Francisco Express Times, Screw, Search & Destroy, Sette Aprile, Sniffin' Glue, Southern Free Press, Spy-in, Styng, Suck, The Bird, The Black Dwarf, The Black Panther, The International Times, The New York Review of Sex, The Oracle, The Seed, Virginity, Washington Free Press, Witte Krant.
Please note: this book has four different covers and these are shipped randomly.
$68.00 - In stock -
The museum is constantly a target for criticism, whether it comes from artists, thinkers, curators, or even the public. From the avant-gardes of the twentieth century up until our contemporary era, the museum's suspect position has generated countless gestures, iconoclastic actions, scathing attacks, utopias, and alternative exhibition spaces. For the first time, this anthology is devoted to the anti-museum, through anti-art, the anti-artist, anti-exhibition, as well as anti-architecture, anti-philosophy, anti-religion, anti-cinema and anti-music. This notion - unpatented but regularly reappropriated - traces the erratic, fractured, and sometimes paradoxical counter-history of the contestation of artistic institutions. From the first anti-exhibition to the first catalog retracing the history of "Closed Exhibitions," from Dada to Noise music, from "Everything is Art" to NO!art, the Japanese avant-gardes to Lettrist cinema, and not forgetting such major protest figures as Gustav Metzger, Henry Flynt, Graciela Carnevale, and Lydia Lunch, The Anti-Museum sketches a polyphonic panorama where negation is accompanied by a powerful breath of life.
Edited by Mathieu Copeland and Balthazar Lovay.
Introduction by: Mathieu Copeland.
Texts by: Zach Blas, Johannes Cladders, Beatriz Colomina, Henry Flynt, Kenneth Goldsmith, Krist Gruijthuijsen, Robert Morris, Bob Nickas, Sören Schmeling, Reiko Tomii, Jon Hendricks, Jean Toche, Andrea Branzi, Ettore Sottsass, Allan Wallach, Guerilla Art Action Group, Robert Morris, Gareth James and many more
Features interviews/conversations with John Armleder, Robert Barry, Ben, Genesis P-Orridge, Andrea Branzi, Piero Gilardi, Mierle Laderman Ukeles and many more
Softcover (w. printed plastic jacket), 464 pages, 18.5 x 24 cm
Out of print title / as new
Published by Spector Books / Leipzig
$90.00 - Out of stock
Out-of-print English edition.
The interdisciplinary and experimental educational ideas espoused by Black Mountain College (BMC), founded in North Carolina in 1933, made it one of the most innovative schools in the first half of the twentieth century. Visual arts, economics, physics, dance, architecture, and music were all taught here on an equal footing, and teachers and students lived together in a democratically organized community. The first rector of the school was John Andrew Rice, and Josef Albers, John Cage, Walter Gropius, and Buckminster Fuller were among the many adepts to give courses here. In consequence, BMC witnessed the development of a range of avant-garde concepts. This richly illustrated book appeared in conjunction with a Black Mountain exhibition ( 5 June – 27 September 2015, Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – Berlin). It is the first comprehensive publication on BMC in the German-speaking world and traces the key moments in the history of this legendary school.
Softcover, 224 pages, 21 x 28 cm
1st Edition, Out of print title / used / good
Published by Shelter Publishing / California
$40.00 - Out of stock
First printing from 1978 of Shelter II, the follow-up book to Shelter, published in 1973.
Shelter II is about people building their own homes in different parts of the world. Heavily illustrated with photographs and plan drawings, the contents span "Indigenous Builders"; "North American Houses and Barns"; "Design"; "Small Buildings"; "Construction"; "Materials"; "Homes"; "Cities" and "Industrialized Housing" encompassing Greenhouses, English Cottages, Nomadic settlements in Rendille, The Urus floating reed islands, Turkish Yurts, Bungalows, Barns, Alternative Energy, Sod Roofs, Foam Domes, Gypsy Vans, Amsterdam Houseboats, Space Colonies, to name but a few!
The principles outlined in Shelter, published almost 40 years ago, seem even more important today: relearning the still-usable skills of the past and doing more hand work in providing life's necessities. Shelter II provides a basic manual of design and construction for the first time house-builder. The book begins with simple shelters still being built and lived in by people with minimal resources. They can be viewed for historical or anthropological interest, or as sensible, instructive examples of efficient construction by those who lack the choices available in industrialized societies. There are also personal accounts and seasoned advice from builders in different climates, with a variety of design approaches, construction techniques, and building materials. A home is still a place for working, resting, sharing, healing, dreaming . . . some things haven't changed that much.
Softcover (die-cut), 48 pages, 21 x 19.5 cm
1st Edition, Out of print title / used / good
Published by Alister Taylor / Wellington
$90.00 - Out of stock
Published in 1972 by Alister Taylor, Wellington, New Zealand, "Great Circles, or How to Build Your Own Dome Home" is one of the finest, and scarcest, books published on building a geodesic dome house.
Written by Rupert and Felicity Glover, this heavily visual volume (wonderfully photographed and complete with templates) traces, step-by-step, their personal process in building a geodesic dome house to counter the burdens building and property regulations were imposing on New Zealand residents (and residents all over the world to this day).
"[...] This is a book which tells you how to beat them at their own game by building the most efficient structure, in terms of a space-materials ratio, yet discovered. In short, this is a housing plan for the alternative society. In it we describe for you a geodesic dome we built ourselves in the summer of 1971-72. It took us six weeks, it cost us about $1500, and it's beautiful. You could build it faster, for at no time did we have