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–SAT 12–6
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.
2010, English
Softcover, unpaginated, 22.5 x 18.5 cm
1st Edition, Out of print title / as new
Published by
PowerHouse / New York
$30.00 - In stock -
With The Night Is Still Young, Los Angeles-based, Japanese photographer Tomoaki Hata returns to his roots—the underground club scene of Osaka's gay, nightlife district. Filled with intimate images of the radically—creative drag queens who performed at various venues in the city from the late 1990s through the present, this book is a peek into the underbelly of modern Japan.
Hata occupies a much-deserved place in the ranks of the great Japanese photographers—on par with the likes of Daido Moriyama and Nobuyoshi Araki—yet he achieved this rank not by following the example of these greats, but via the presentation of his own unique view of a slice of Japanese culture that otherwise remains largely undocumented. Gay life and culture in Japan remains mostly secretive, and tends to take place within the safe confines of gay bars and gay districts that are many times hidden in plain view within the entertainment districts of major urban centers. A passionate and intimate portrayal of the gender-bending performers as they cavort, both on and off the stage, Hata exposes this elusive subculture for the entire world to see. The results are campy and combustible images of drag performers going full tilt. Glitter, glamour, sequins, and seediness are all on display, up-close and unrestrained.
Including an essay on Hata's photographs-and the world they examine—The Night Is Still Young captures and contextualizes drag culture in Japan at the turn of the century, and is the ultimate primary-source document of this otherwise obscure scene.
1996, Japanese
Softcover, 30 bound postcards, 15.5 x 11.7 cm
1st Edition, Out of print title / as new
Published by
Little More / Tokyo
$480.00 - In stock -
Very rare early book of portraits of Tokyo teenagers by leading Japanese photographer Takashi Homma (b. 1962 in Tokyo, Japan). This special publication features around 30 selected photographs of Homma's iconic and very influential early 1990's photography bound into one volume in the form of thick perforated postcards. These images of Tokyo teens, along with images of their bedrooms and Shibuya / Harajuku street surrounds, are emblematic of Homma's work of the period, known in the West through Purple magazine, etc. Following in the spirit of Provoke photographers such as Araki, Moriyama, and Nakahira, Homma created a new photographic expression for Tokyo at the end of the century. Homma's photography would become a great influence on the fashionable 1990's girly photo boom of Hiromix and Yurie Nagashima, etc.
Fine—As New copy, all postcards still bound, vinyl cover sticker still attached as issued.
1993, English
Hardcover (w. dust jacket), 188 pages, 24 x 16 cm
1st Edition, Out of print title / used / fine
Published by
St. Martin's Press / New York
$120.00 - In stock -
First 1993 edition in rare hardcover.
When the definitive history of the emergence of gay culture in the second half of the twentieth century is written, one individual artist is almost certain to be acknowledged for having singlehandedly shaped the erotic imagination of generations of gay men: the Scandinavian illustrator Tom of Finland.
Working alone and in secret in a far-off land, the remarkable drawings that sprang from this artist's hands—leathermen-bikers, cow-boys, cops, lumberjacks, hardhats, soldiers, and sailors—become archetypal images that delineated the shape of homoerotic desire.
With Tom's full cooperation in the years before his death, F. Valentine Hooven Ill has written a full biography of the man, while tracing the evolution and impact of his art on the world.
"Tom of Finland is one of the gay world's few authentic icons. For over thirty years his drawings have appeared in gay magazines and circulated in pirate editions. His men have entered the fantasy life of thousands, and his vision has influenced such artists as Robert Mapplethorpe, Bruce Weber, and Rainer Werner Fassbinder."—Out/Look
Fine copy in Fine DJ.
1981, Japanese
Softcover (w. vinyl dust jacket + pin-up), unpaginated, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Byakuya Shobo / Tokyo
$300.00 - In stock -
"Bite me. Hate me. Bine me. Fuck me.
Please whip me more strong. One, sir. Two, sir. Three, sir. Hmm ah ha...."
—from the back cover.
Seldom seen, remarkable 1981 Japanese photo book by little known Japanese photographer Tetsuji Shimizu — an immersive exploration of the gay scene in San Francisco in 1980, brilliantly designed by Teruhiko Yumura (King Terri, Terrible Terri, etc.)! Rare even in Japan.
Published by Byakuya Shobo, this glossy, vinyl jacket-bound photo book is similar in format to Seiji Kurata's "Flash Up," published around the same time. While visiting New York, Shimizu was astounded by the sights of Christopher Street, the epicenter of LGBT culture. He traveled to the West Coast through word of mouth and immersed himself in the gay culture there, capturing the night-life of Castro and Folsom Streets with his camera — the leather daddies, the bondage dungeons, the bars, and back at the apartments. The impact of the images was so great that it inspired Shimizu to become a photographer. This is such a unique book that Nobuyoshi Araki said, "As I looked through this photobook, I wanted to become a subject myself."
The book also includes a fold-out pin-up, a chapter of intimate black and white close-up erotic scenes, polaroids and Kodachrome slide photo albums documenting the daily lives of friends in the SF scene — the boyfriends, the queens, the bears, fetish shops, sex toys, poppers and wardrobes, a chapter of reproductions of sex toy catalogues illustrated by the great San Francisco illustrator Rex, plus wild erotic artworks from Martin/Hottman/Teruhiko Yumura, master of the punk manga movement and the heta-uma illustration aesthetic.
Very Good copy in original publishers vinyl jacket. As common with old Japanese books preserved in these original plastic dust jackets, they shrink with age and here it has caused the back cover to partially crease.
2003, Japanese
Softcover, 160 pages, 24 x 18 cm
1st Edition, Out of print title / used / fine
Published by
Atelier Peyotl / Tokyo
$60.00 - Out of stock
"Gothic" Special Feature Issue of cult Japanese underground magazine Yaso, published in 2003, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese with in-depth profiles, interviews with and essays on Trevor Brown, Gottfried Helnwein, Kuniyoshi Kaneko, ero-manga master Keizo Miyanishi, influential Gothic Lolita illustrator Mitsukazu Mihara, Floria Sigismondi, Marilyn Manson, Alice Auaa, loads of "Modern Primitive" material (piercing, body modification, body performance, etc.), and much more...
Near Fine copy.
1982/1992, Japanese
Softcover, 192 pages, 21 x 14.5 cm
Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$60.00 - In stock -
"Corpse" Special Feature Issue of cult Japanese underground magazine Yaso, first published in 1982, then re-printed in 1992, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese that look at the theme of death and the dead in the arts, literature, occultism, ancient sciences, philosophy, mythology, poetry, film, crime, and much more. Features John Duncan, Tetsumi Kudo, Cosey Fanni Tutti, Masahisa Fukase, Franz Kafka, Johann Wolfgang von Goethe, Guillaume Apollinaire, Joe Potts (LAFMS), Takashi Ishii, Rudolf II — Holy Roman Emperor, Akinari Ueda, Marcel Duchamp, Chris Burden, Paul Celan, Alain Resnais, Gilyak Amagasaki, Shusaku Arakawa, Pieter Bruegel the Elder, Shuji Terayama, Andy Warhol, Charles Manson, Brian Wilson, Kyoko Endoh, Princess Yongtai, Salvador Dalí, Ono no Komachi, Kiyoshi Kasai, Caravaggio, Throbbing Gristle, Takizawa Bakin, Leno and Rosemary LaBianca, Manson Family, Fyodor Dostoevsky, Wu Zetian, Genesis P-Orridge, Yusuke Nakahara, Ranpo Lagrange, Mitsusada Fukasaku, Nakai Hideo, Richard Wagner, and many more.
Very Good copy.
1986, Japanese
Softcover, 160 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$70.00 - Out of stock
Issue No.28 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty bookshop and publisher of fetish and erotica in Tokyo in the 1980—90s. Each issue covers different themes and features, heavy on fetishism.
Issue No.28, the "Fetishism" issue features collected writings and images around the theme of fetish by John Willie, Bizarre Magazine, Pierre Molinier, Irina Ionesco, Bernard Faucon (his incredible Summer Camp series), Irwing Klaw, Centurians Publishing Inc. bondage catalogues, Andy Warhol and much more... What's more, this issue comes complete with a green synthetic feather to kickstart your own sensual adventures.
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
1984, Japanese
Softcover (w. dust jacket), 100 pages, 26 x 19 cm
1st Edition, Out of print title / used / fine
Published by
Sanwa / Tokyo
$190.00 - Out of stock
Very rare special August 1984 issue of Flower Slave, with cover feature "Namio Harukawa's World". This gorgeous, over-sized gloss cult fetish magazine published by Sanwa, Tokyo, is devoted entirely to "The Queen", sadistic mistresses and dominatrix goddesses of femdom enlightenment — packed from cover to cover with saturated full-colour photographic Japanese femdom shoots of many varieties, including western reproductions, Japanese queen profiles, illustrated fetish stories, video features, and amazing pictorial instructional male torture articles. This special issue is also a major early publication celebrating the world of femdom master illustrator Namio Harukawa, including his original cover and dust jacket artwork and lavish colour fold-outs of his incredible illustrations. The whole magazine embodying Harukawa's erotic fantasy world, this title has become an important part of his published history.
Namio Harukawa (1947—2020), a pseudonymous Japanese fetish artist best known for his masterful pencil works depicting female domination ("femdom"), with erotic asphyxiation through facesitting appearing as a frequent subject of his art. Born 1947 in Osaka, Japan, Harukawa’s distinctive penname combines the name of film actress Harukawa Masumi with an anagram of Naomi, the sadistic heroine in Tanizaki Jun’ichiro’s novel "Chijin no ai / A Fool’s Love". While in high school, Harukawa began contributing work to the readers’ column of leading postwar Japanese SM pulp magazine "Kitan Club". Since then, Harukawa’s drawings of male masochism have lovingly portrayed noble, voluptuously beautiful women and the men who serve them as human furniture. An extraordinary and prolific artist who remained committed to the regime of “absolute Ganmen Kijo Shugi (facesitting principle)” throughout his artistic life, Namio Harukawa passed away on April 2020, he was 72 years old.
Very Good copy in illustrated dust jacket.
1977, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$40.00 - In stock -
SM Kitan September 1977 issue. A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was the SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. This issue features the work of some of the best names in Japanese SM art. Regular contributors included Ran Akiyoshi, Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Mature audiences (18+) only.
Very Good copy. Light cover wear/age.
1977, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$40.00 - In stock -
SM Kitan October 1977 issue. A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was the SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. This issue features the work of some of the best names in Japanese SM art. Regular contributors included Ran Akiyoshi, Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Mature audiences (18+) only.
Very Good copy. Light cover wear/age.
1977, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$40.00 - Out of stock
SM Kitan November 1977 issue. A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was the SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. This issue features the work of some of the best names in Japanese SM art. Regular contributors included Ran Akiyoshi, Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Mature audiences (18+) only.
Very Good copy. Light cover wear/age.
2010, English
Softcover, 160 pages, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
As Loud As Possible / UK
$110.00 - In stock -
Quickly out-of-print, inaugural and solitary volume of the UK noise music magazine, As Loud As Possible, published in 2010 and edited by Chris Sienko and Steve Underwood (Harbinger Sound). Not surprisingly an instant collector's item, this first ambitious issue (names after the Incapacitants 1995 album) is packed with articles, interviews and reviews with both "seminal and newly emerging sound artists that specialize in atonal sonic brutality." Runzelstirn & Gurgelstock, Broken Flag (Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo (M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang....), No Fun, Putrefier, Sewer Election, The Haters, The Rita / Sam McKinlay, Zone Nord / Jean-Luc Angles (Blowhole, Prick Decay, Small Cruel Party), Cheapmachines, Climax Denial, Interchange fanzine, Alien Brains / Storm Bugs / Anti-Messthetics, and much more...
Contents: “Runzelstirn & Gurgelstock: “Artaud, Aktionkunst, Abreaction and Eb.er” : texts by Alice Kemp, accompanied by new drawings from Rudolf Eb.er, and a detailed “Aktiongraphy”; The Broken Flag Story: An extensive indepth interview with Gary Mundy, covering the career of Ramleh, the complete output of his legendary Broken Flag record label, and also featuring new interviews with the artists responsible for those releases, including: Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo (M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang and many more, plus unseen artwork and photographs; No Fun: Festival curator Carlos Giffoni talk about the New York festival's past, present and future, and covers his work with the No Fun Productions label. The Politics of HNW: The Rita’s Sam McKinlay talks about the obsessive nature of the harsh-head. Includes a list of Sam's essential Wall Noise picks spanning the past two decades. An excellent introduction to wall-riding; 30 Years of The Haters: G.X. Jupitter - Larsen provides a personal history, as well as a delineation of his ideas, methods, and tricks accrued over three decades. The inside story from the man who has made entropy his life's work. Putrefier: An interview with Mark Durgan, covering his twenty years in the UK's wilderness, from Birthbiter's heyday to the present-day. Includes reminiscences from Andy Bolus about their infamous duo project, Olympic Shit Man! Sewer Election: Sweden's loudest, Dan Johansson talks about his music, ideas, art and running a tape label. Interview by Mikko Aspa of Grunt; Zone Nord: An album -by- album look at the discography of this retired French noise legend, including brief commentary from Mr Zone Nord himself, Jean-Luc Angles; Apraxia: An interview with Patrick Barber, the man behind the label. Covers the output of this legendary label who released Blowhole, Prick Decay, Small Cruel Party and others in the early '90s; Cheapmachines: An interview with London sound-sculpter and all-'round sonic chameleon Phil Julian.
Climax Denial: An interview with this Milwaukee-based Power Electronics lecher, including an album-by-album analysis; Alien Brains, Storm Bugs and Anti-Messthetics: A study of the non-careers of two early eighties UK outfits that were very much connected. Includes input from some of the key players, plus lots of vintage artwork; Interchange: A look at this influential UK fanzine from the mid-80s, plus an interview with its creator, John Smith. Tunnel Canary: G. X. Jupitter - Larsen tells us about his first memories in Vancouver of this volatile bunch. IDES: An overview of the primary output of this American tape label, and an interview with its owner, Nicole Chambers; Classic Albums: A regular feature dedicated to both in-depth analysis and memories of overlooked but not forgotten gems from yesteryear. Issue #1 features articles on The Lemon Kittens (We Buy A Hammer For Daddy), XX Committee (Network) and RJF (Greater Success In Apprehensions & Convictions). A collection of thoughts and interviews, including an exclusive interview with ex- XX front-man, Scott Foust. Opinion Columns: A regular feature from a rotating pool of participatory players with the music they ponder. Includes John Olson (Wolf Eyes), Andy Ortmann (Panicsville), Mikko Aspa (Grunt), Steve Underwood (Harbinger Sound), Hicham Chadly (Nashazphone), Jonas Kellagher (Segerhuva), C. Spencer Yeh (Burning Star Core) and Mark Wharton (Idwal Fisher) amongst others. Covering artists including Masonna, Vomir, and The Black Phelgm, and ranging from Bizarre Uproar all the way to Christian bluegrass bluegrass music! Extensive reviews section. Back cover artwork by Richard Rupenus (The New Blockaders).
Very Good copy with light wear.
?, English
Softcover, 70 pages, 20.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Rubberwear Press / Nunawading
$45.00 - In stock -
Privately-published, printed and distributed by Rubberwear Press in Nunawading, Return to Bondage is an anonymous Australian SM erotic novel, cheaply produced and stapled, typewritten and mimeographed, undated (presumably late 1970s-1980s), and written for "Rubber Lovers", "Bondage Fans", "Disciplinarians".
Good—Very Good copy, rusted staples, previous shop stickers, closed tear to back cover.
1967, English
Softcover, 100 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
North Atlantic Books / Vermont
$40.00 - In stock -
First edition of 20,000 A.D., a collection of poetry from the 1960s—70s by founder of Peace Eye Bookstore, the Fuck You Press, and the Fugs, Ed Sanders, published by North Atlantic Books, Vermont, in 1976. Deeply influenced by the work of Dylan Thomas, Ezra Pound, and Allen Ginsberg, Sanders helped bridge the concerns of Beat poetry and the countercultural movement of the 1960s. Sanders discussed his approach to investigative poetry: “Nonfiction is a kind of map of fragments of information sequenced together, like an elegant baklava with layers of meaning,” he alleged. “You have to think of different arrays of sequencing information … You have to make an apt choice, or an artistic choice, or an aesthetic choice about what you put in—and what you leave out. It’s an art form when to say no. Especially in investigative poetry, it’s a mission.”
Very Good copy, light tanning.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / average
Published by
SST Publications / Lawndale
$400.00 - In stock -
Rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "Exterminating The Eagles" reproduces twenty-eight psychologically-charged, graphic fables for which Pettibon is famed.
Hand-numbered by Pettibon in red ink #120 of 500.
In Exterminating the Eagles, Raymond Pettibon tackles race, violence and inner city crime using his spare, expressive ink drawings. Subjects include a White Power shop owner, a sourpuss grandmother, Nancy Reagan and Hitler. Pettibon notes, “Unauthorized duplication is unAmerican, i.e., unprofitable.”
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy, wear around the edges, especially the spine, still holding together but with some splitting. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
SST Publications / Lawndale
$440.00 - In stock -
Very rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "The Express Sex Train" reproduces twenty-eight psychologically-charged drawings.
Hand-numbered by Pettibon in red ink #426 of 500.
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy with wear around the edges, still with solid binding. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
SST Publications / Lawndale
$400.00 - In stock -
Very rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "The Express Sex Train" reproduces twenty-eight psychologically-charged, graphic fables for which Pettibon is famed.
Hand-numbered by Pettibon in red ink #88 of 500.
The plaintive cover image of Pig Cupid is captioned “Why do I dream of undertow when I don’t even know what it is?” This zine, by punk artist Raymond Pettibon, deals with violent love and toxic relationships. Many of the women within have been violated, deserted, shot, bought or sold, but Pettibon’s fluid line drawings capture the inexplicable pull of desire, even against a woman’s better judgement. Cupid, argues Pettibon, is a pig.
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy with wear around the edges, still with solid binding. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / good
Published by
Eros Magazine / New York
$50.00 - Out of stock
Volume One, No. 1, Spring 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Good copy with light wear to hardcovers, some wear to board edges, light foxing/toning.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / very good
Published by
Eros Magazine / New York
$50.00 - Out of stock
Volume One, No. 4, Winter 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Very Good copy with light foxing/toning.
1984 / 1995, Japanese
Softcover (w. dust jacket), 144 pages, 21.3 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Rippu Shobo / Japan
$140.00 - Out of stock
First 1984 edition of this seldom seen photo book by Japanese photographer Kazuo Kenmochi, These Are Drugs: A Photographic Look at the Roots of Modern Disease. Kazuo Kenmochi, an extraordinary figure in Japanese photography, published three ground-breaking photo books that rank as some of the most comprehensive books on drug addiction ever published — Narcotic Photographic Document, Narcotic '61-'72, and Narcotic Damage in Japan (published 1963 through to 1975). These illuminating books of frontline photo-reportage detail the drug culture in Japan in the early 1960s that was spread by U.S. soldiers after the war. A photo artist with direct access as photographer for the Ministry of Health and Welfare and the National Police Agency, Kenmochi captures all the aspects of the culture from drug production, to distribution, to use, addiction, withdrawal, overdose, raids, seizure, arrests, incarceration, all in great detail. Alongside incredible photo documents of addicts in varying states of disarray, the books photographically documents the seizures, identifies the drug types/variations, paraphernalia, the methods of use, the signs of use on the body, and charts their origins in nature and distribution. Kenmochi's comprehensive observations, ingeniously utilising methods of identity abstraction and provocative photographic techniques used in erotic photography (a field he was active in), to confidentially capture drug use through stark and very intimate moments with users. This 1984 volume collects a selection of the images (vivid colour and b/w) from these highly sought after books into one concise softcover volume.
First 1984 edition, 1995 printing.
Fine—As New in NF dust jacket, preserved under mylar dust jacket, light creasing.
1989, Japanese
Softcover, 208 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$70.00 - In stock -
Issue No.36 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.36, the "Female Foot Fetishism Special Issue" with the wonderful wraparound Pierre Molinier cover is packed with imagery and essays around the theme of "Foot and Fetish Heel" throughout history, literature, film and fetish publishing, etc. profusely illustrated with drawings, photography, bondage illustrations, film stills, catalogue clippings, and artworks, including works by Bill Ward, Pierre Molinier, Nobuyoshi Araki, and so many more. It also features the Fiction, Inc. section that samples a cross-section of content from catalogue publications including the work of John Willie, Bill Ward, Carlo, Eric Stanton, Irving Claw, Betty Page, and periodicals such as Rubber Magazine, Amateur Bondage, Bizarre Comix, Bizarre Classix, Bizarre Fotos, Stiletto, and much more... Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy.
1985 / 2001, English
Softcover, 148 pages, 11.4 x 17.2 cm
Published by
Autonomedia / New York
$29.00 - Out of stock
"A Blake Angel on Bad Acid" — Robert Anton Wilson
"Fascinating..." — William Burroughs
"Who is Hakim Bey? I love him!" — Timothy Leary
Back in print — the underground cult bestseller and first book by anarchist writer and poet Hakim Bey (Peter Lamborn Wilson) published in 1991 by Autonomedia. Originally published in 1985 and circulated in the underground via small private and pirate editions, these texts were an inspiration for a generation of troublemakers and idealists. Both celebrated in the punk underground (where the original book has become a seminal text) and denounced in some anarchist circles, the book has proved itself as both influential and relevant to multiple generations of dreamers, agitators, and activists.
Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho-black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults — this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture. This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living.
This new edition contains the full text of "Chaos: The Broadsheets of Ontological Anarchism", the complete "Communiques of the Association for Ontological Anarchy", and the new long essay "The Temporary Autonomous Zone", and a new preface by the author.
Very Good copy with some light wear.
1970, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tenjō Sajiki / Tokyo
$240.00 - In stock -
Very rare copy of Angura (Underground Theatre) issue 3, 1970, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With gorgeous graphic design and (Aleister Crowley) cover by graphic designer Heikichi Harata, this issue's special feature is ‘Eros and Theater’, edited by Shūji Terayama and Masahiko Akuta with contributions by Terayama, photographer Hajime Sawatari, writer Taruho Inagaki, director Takahiko Iimura, anthropologist Masao Yamaguchi, playwright Yasunari Takahashi, director and cinematographer Sakumi Hagiwara, film director Nobuhiro Kawanaka, playwright Rio Kishida, and many others. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
1972, Japanese
Softcover, 340 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Tenjō Sajiki / Tokyo
$120.00 - In stock -
Rare copy of Angura (Underground Theatre) issue 5, 1972, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With iconic cover photography by Shūji Terayama, this issue's special feature is ‘City Drama / Human-powered airplane Solomon’, with contributions by Terayama, artsit Jiro Takamatsu, butoh dancer and choreographer Akira Kasai, actress Eiko Kujo, photographer Nobuyoshi Araki, film director Nobuhiro Kawanaka, playwright Yutaka Higashi, film critic Shigechika Sato, musician J. A. Seazer, musician Shigeo Takenaga, musician Norihito Inaba, photographer Hiroshi Yamazaki, and many others. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.