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:
OPEN 12—5 THU—FRI
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
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2020, English
Hardcover (cloth), 264 pages, 29.2 x 25 cm
Published by
Museum of Fine Arts / Boston
$100.00 - Out of stock
Luscious reproductions of more than 50 of Twombly's paintings, drawings and little-known sculptures, along with classical works of art, tell the story of an American abstractionist’s poetical dialogue with antiquity.
Cy Twombly's first visit to Italy as a young man ignited a lifelong passion for classical culture that is everywhere present in his art. Painted canvases, works on paper and small-scale sculptures reveal the historical soul of Twombly's abstract compositions. Taking on myths and heroes as personal guides, he created a psychologically complex dialogue with the visual and literary art of antiquity.
This sumptuously illustrated publication reproduces a carefully chosen selection of the artist's paintings, drawings and sculptures alongside works of classical antiquity, including a number from his personal collection. Illuminating essays by leading scholars and writers, including Anne Carson, Jennifer R. Gross, Brooke Holmes and Mary Jacobus, explore the often enigmatic engagement of Twombly's art with the world of the past.
Edited with text by Christine Kondoleon, Kate Nesin. Text by Anne Carson, Jennifer R. Gross, Brooke Holmes, Mary Jacobus.
Cy Twombly (1928-2011) was born in Lexington, Virginia, and lived and worked in New York in the early 1950s and at Black Mountain College in North Carolina. After traveling around North Africa, Spain and Italy, he settled in Rome, where he remained for the rest of his life.
2019, English
Hardcover, 288 pages, 21 x 26 cm
Published by
Hirmer / Münich
$80.00 - Out of stock
Abstract paintings were being produced even before Kandinsky. Completely independently from each other, Georgiana Houghton (1814 - 1884) in England, Hilma af Klint (1862 - 1944) in Sweden and Emma Kunz (1892 - 1963) in Switzerland each developed an individual abstract pictorial language. What they had in common was a desire to make visible the laws of nature, the intellect and the supernatural. In 2019 their works were presented side by side for the first time in an exhibition and this beautiful hardcover publication documents this occasion.
The three women artists all found their artistic language within the context of the spiritual movements of their times: Houghton in spiritism, af Klint in theosophy and Kunz in naturopathy. Their artworks bear witness to a “mediumistic” praxis: Houghton and af Klint were inspired by higher beings to paint, while Kunz developed her drawings with the help of a pendulum. In addition, the volume shows stills by Harry Smith and James and John Whitney, who – inspired by various occult movements – made experimental films during the 1940s.
2013, English / German
Hardcover, 660 pages, 13 × 23.5 cm
Published by
Edition Patrick Frey / Zürich
$199.00 - Out of stock
HR Giger worked in the Shepperton Studios near London from February to November 1978, creating the figures and sets for the film Alien (1979) directed by Ridley Scott. The film became an international success, earning Giger an Oscar. In the transcribed Alien Diaries, published here for the first time as a facsimile, HR Giger describes his work in the studios. He writes, sketches, and takes photographs with his Polaroid SX70. With brutal honesty, sarcasm and occasional despair, Giger describes what it is like working for the film industry and how he struggles against all odds — be it the stinginess of producers or the sluggishness of his staff — to see his designs become reality. The Alien Diaries (in German transcription with an English translation) show a little-known personal side of the artist HR Giger and offer an unusual, detailed glimpse into the making of a movie classic through the eyes of a Swiss artist. The book contains almost completely unpublished material, including drawings, Polaroids showing the monster coming to life, and several still shots from the plentiful film material that Giger took in Shepperton.
2021, English
Hardcover, 176 pages, 25.3 x 30.3 cm
Published by
Skira / Milan
$60.00 - Out of stock
A spectacular book showing life and work of the Finnish icon from an unknown perspective with around 150 illustrations and well researched texts.
Tom of Finland has became the most famous and influential Finnish artist of the 20th century. Born Touko Laaksonen in 1920, his iconic depiction of self-confident and life-affirming gayness gave decisive impulses to the international gay movements from the 1960s onwards. But although we clearly associate his portrayals of sensual and powerful cowboys, farm hands, soldiers and leathermen with the USA, Tom of Finland’s rise to gay icon received the game-changing impetus neither in his native Finland nor in the USA. It was, of all places, the city of Hamburg and Tom’s friendship with key exponents of the local gay scene in the early 1970s that helped him to his first exhibition ever.
He even created a grand mural for the legendary “Tom’s Bar”, until today the only one legitimately named after him. Regular commissions to design posters and ads for gay events in Hamburg allowed him to launch his artistic career after quitting his day job as advertising executive, and led to the creation of the most extensive private collection of his drawings to date. Galerie Judin is now devoting an exhibition and a comprehensive publication to these seminal, but thus far little researched years, the art they generated and the friendships they formed. The book includes texts by Juerg Judin, Pay Matthis Karstens, Kati Mustola and Alice Delage, conversations with Durk Dehner and Michael P. Hartleben – and a facsimile of the artist’s German travel diary from 1955.
2021, English
Hardcover, 280 pages, 23.5 x 27.9 cm
Published by
Yale University Press / New Haven
$120.00 - Out of stock
A fascinating new look at an extraordinary artist whose deafness led to an acute visual awareness and near photographic memory.
Self-taught artist James Castle (1899-1977) is primarily known for soot and saliva drawings of meticulously rendered domestic interiors and farm scenes, along with fantastical figures, animals, and architectural constructions made of cardboard and stitched paper. Castle was born into a family of homesteaders in Idaho, and his visual world comprised variations of seemingly ordinary subjects: rural landscapes, houses, barns, and outbuildings; interiors with closed and open doors, beds, bureaus, tile floors, and minutely patterned wallpaper; and color copies of illustrated advertisements for food, fuel, and matches.
Castle was a deaf artist who by most accounts never learned to read, write, or speak. In this remarkable book, author John Beardsley discusses how these limitations led to the development of an extraordinary memory, an ability that enabled him to create a large number of distinctly intelligent artworks. Beardsley follows Castle's work as if through a series of rooms (a "Memory Palace")-interiors, exteriors, objects, books, and words-reproducing many previously unknown works and referencing other documents made available for the first time from the James Castle Collection and Archive.
2021, English
Hardcover, 260 pages, 21.6 x 26.2 cm
Published by
Hauser & Wirth / Zurich
$95.00 - In stock -
The first ever overview on Erna Rosenstein, surrealist, poet and creator of mesmerizing dreamscapes in painting and assemblage.
This is the first ever English-language monograph on the vast and complex oeuvre of Erna Rosenstein (1913-2003), a prolific artist whose varied output was informed by her experience as a Polish Jew during the Holocaust. Published on the occasion of the eponymous, upcoming exhibition at Hauser & Wirth in New York, and edited and with a text by exhibition curator Alison Gingeras, this book serves as an introduction to Rosenstein and her story. Alongside an extensive plates section, poems by Rosenstein are included in the book, as well as a special insert reproducing a fairy tale authored and illustrated by the artist. Art historian Dorota Jarecka has also contributed an essay, and the book additionally includes Rosenstein’s own narrative testimony of the war in Poland.
Erna Rosenstein (1913-2003) was an artist, writer and poet born in Lviv, a city that was located in Poland during her youth and is now in Ukraine. She was raised in Kraków, the daughter of a judge. Resisting her family’s desire that she follow her father into law, she studied art and belonged to a leftist art movement known as the Kraków Group. In 1938, she visited Paris and saw the International Surrealist Exposition organized by André Breton, which had a profound impact on her work. After the Nazi invasion of Poland, she and her parents returned to Lviv, where they were confined to the ghetto. The family managed to escape to Warsaw, but her parents were murdered in 1942 in the forest outside Ogrodniki, Poland; Rosenstein herself was gravely wounded but survived and used various assumed identities to remain hidden for the duration of the war. After the liberation, she remained in Warsaw and returned to making art, marrying the literary critic Artur Sandauer. Through continuing political adversity, Rosenstein remained at the forefront of the Polish avant-garde for the rest of her life, participating in several seminal exhibitions and eventually receiving national acclaim in her native country, though her work is only now gaining recognition outside Eastern Europe.
1990, German
Softcover, 56 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Jahn / Münich
$180.00 - Out of stock
Very scarce catalogue published on the occasion of the exhibition Isa Genzken : Arbeiten auf Papier 1987, held at Galerie Jahn und Fusban in Münich, December 1990 - January 1991. The only catalogue committed entirely to Genzken's works on paper in pencil, ink, spray paint from 1987, illustrated throughout. Includes photographic portrait of Genzken by Richter, text by Fred Jahn, biography, bibliography, and inserted illustrated invitation to the exhibition!
Very Good copy.
2004, English
Softcover, 128 pages, 21.5 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Design Studio Press / Culver City
$60.00 - Out of stock
First edition of AVP : Alien vs. Predator - The Creature Effects of ADI, the essential companion to the 2004 science fiction action film written and directed by Paul W. S. Anderson, Alien vs. Predator, written by the chief creature effects supervisors Alec Gillis and Tom Woodruff Jr.
In 1979, Ridley Scott introduced moviegoers to a new definition of fear and horror with his sci-fi classic, Alien. To coincide with the release of AVP, special effects gurus Alec Gillis and Tom Woodruff, Jr. opened the doors of their Academy Award-winning creature shop, Amalgamated Dynamics Inc. (A.D.I.), to invite all to a behind-the-scenes journey, as they once more breathe life into the characters that have been scaring audiences for over two decades. Gillis and Woodruff's unique perspective makes this one of the most fascinating 'making of' books ever published, providing an in-depth look at how the Aliens and Predators were created. It follows Gillis and Woodruff and their talented crew of over 100 artists and technicians throughout the design, sculpting, fabrication, and finishing processes. Packed with over 400 exclusive photos, the story continues on-location in Prague where, as the cameras roll, their creations truly come to life. A rare glimpse into the world of the mighty Amalgamated Dynamics Inc. (A.D.I.), founded in 1988 by Stan Winston alumni Tom Woodruff Jr. and Alec Gillis.
Very Good copy, light cover wear.
2013, English
Softcover (w. copper book darts), 64 pages, 13 x 20 cm
Ed. of 400,
Published by
The Physics Room Trust / Auckland
$20.00 $10.00 - Out of stock
Sesame Seeds is a published work by New Zealand artist John Ward Knox featuring a series of new photographs and text pieces, accompanied by a fictional passage by writer Thomasin Sleigh. Existing independently of an exhibition this research publication quietly explores threads in Knox's practice at its own pace.
Edition of 400 copies.
2016, English
Softcover, 184 pages, 21.9 x 28 cm
Published by
Yale University Press / New Haven
$44.00 $15.00 - Out of stock
This wide-ranging and thought-provoking compilation explores the idea of nonconformity in art, religion, and philosophy. The book features 55 contemporary artists who work outside the norms of current practice, alongside both newly commissioned and previously published texts which, taken together, provide an astute sampling of recent perspectives on art and ideas. Among the artists whose work is featured are Margit Anna, Clayton Bailey, Tony Cox, Abu Bakarr Mansaray, Birgit Megerle, Philip Smith, and Keiichi Tanaami. The accompanying texts include classic works by Sigmund Freud and Leo Steinberg, reprinted with new commentary by Mark Edmundson and Joshua Decter, respectively; a recent essay on unorthodoxy in Judaism by Alan T. Levenson with a response by Jack Wertheimer; and a previously unpublished meditation on Aby Warburg’s art history by Georges Didi-Huberman.
Artists included: Margit Anna, Austė, Clayton Bailey, Brian Belott, Meriem Bennani, Adolfo Bernal, Dineo Seshee Bopape, Michael Buthe, Tony Cox, Olga de Amaral, Brian DeGraw, Marie-Louise Ekman, Brenda Fajardo, Christina Forrer, Valeska Gert, Stephen Goodfellow, Zach Harris, Margaret Harrison, Tommy Hartung, Nadira Husain, Jamian Juliano-Villani, Cyrus Kabiru, E’wao Kagoshima, Gülsün Karamustafa, Keiichi Tanaami, Július Koller, Jirí Kovanda, Amadeo Luciano Lorenzato, Boris Lurie, Alice Mackler, Abu Bakarr Mansaray, f.marquespenteado, Park McArthur, Birgit Megerle, Jeffry Mitchell, Mrinalini Mukherjee, Masatoshi Naito, Hylton Nel, Zoë Paul, Nick Payne, Christina Ramberg, Bunny Rogers, David Rosenak, Erna Rosenstein, Xanti Schawinsky, Max Schumann, Leang Seckon, Diane Simpson, Philip Smith, Hajime Sorayama, Jeni Spota, Miroslav Tichý, Amikam Toren, Endre Tót, William T. Vollmann
1966, English
Softcover, 140 pages, 28 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Paragraphic Books / New York
$140.00 - Out of stock
Rare first 1966 edition of one of the greatest, most biting illustrated satires of society, penned by the great Tomi Ungerer in the mid 1960s. Ungerer eviscerates the 1 percent in this series of cartoon vignettes that are unfortunately as relevant now as the time they were drawn and shall remain so forever and ever.
The Party takes place in the Hamptons, attended by captains of industry, tycoons, magnates, moguls, and various undistinguishable fat cats, luxuriating in their tuxedos, evening gowns, and prattling small talk. The depiction of one grotesquerie after another - often couples - cavorting through the haze of booze and caviar, with the occasional wanton display of sybaritically libidinal impulse. Ungerer accompanies each full-page image with a hilarious, hand-lettered caption, which provides the characters' names and a brief deadpan description of their social standings, creating a dissonance between image and text.
An absolute classic that would sit comfortably alongside the works of George Grosz, James Ensor, even H. R. Giger.
"This antiestablishment satirical masterpiece practically vibrates with class war rage and will resonate with similarly inclined contemporary readers." — Publishers Weekly
Tomi Ungerer (1931—2019) is an award winning French illustrator and a writer in three languages. He has published over 140 books ranging from much loved children's books to controversial adult work and from the fantastic to the autobiographical. He is known for sharp social satire and witty aphorisms. He is renowned for his iconic Advertising campaigns and political posters against the Vietnam War and Racial Injustice which were representative of the burgeoning political consciousness in New York in the 1960’s. His political engagement has continued to this day in campaigns against Racism and Fascism, for Nuclear disarmament, Ecology and numerous Humanitarian causes.
Very Good copy, wonderfully preserved copy.
2004, English
Softcover (staple-bound), 16 Pages, 14 x 20 cm
1st Edition, Out of print title / used / good
Published by
Nieves / Zurich
$35.00 $5.00 - Out of stock
Out-of-print photocopy zine published by Kyle Field and Nieves in 2004 in a limited numbered edition of 100 copies.
In the late 1990s in San Luis Obispo, California, Kyle Field formed the band Little Wings, of which he is the only permanent member. In the past, the band has had members Adam Selzer on drums, Rob Kieswetter on keyboards, Mark Leece as bassist and various others. As Little Wings, Field has released over a dozen albums, under the Walking and independent K Records labels. Field also has played with Grandaddy, Lee Baggett, André Herman Dune and Devendra Banhart throughout the 2000s. Field is also an acclaimed visual artist, having earned his BFA in 1997 from the University of California, Los Angeles. Kyle Field lives near San Francisco, California.
Good copy, some cover wear.
2005, English
Softcover (staple-bound), 24 Pages, 14 x 20 cm
1st Edition, Out of print title / used / good
Published by
Nieves / Zurich
$35.00 $5.00 - Out of stock
Out-of-print photocopy zine published by US artist Matt Leines with Nieves in 2005 in an edition of 100 hand-numbered copies.
From the dawn of this century, Matt Leines has produced a steady flow of fine art to delight and confound viewers–drawings and paintings rich in color and detail–exploring the kaleidoscope of memory and outer zones of imagination. He possesses a workmanlike approach to symbolism and surrealism, the poet’s ability to realize longed-for images and a passion for theatrical sports. The world moves in patterns, faces unfixed, lines dancing across pyramid walls. Perspective is subservient to unique modernist iconography; his characters operate in a kind of abstract epic or post-Columbian codex that blurs pure myth and daily life.
Observant, vibrant, obsessively intricate and rippling with gnostic strength and humor, Leines’ output reflects the 80’s pop culture of his New Jersey youth, highlights from the modern art playbook and a global range of graphic influences. He is master of lines and balance–the kind of kid born with a crayon gripped in his hand–who developed his talent through practice and study. This genius for drawing is supported by genuine sympathy for the mysteries of existing and an eye that ranges far and wide, past, present and future, real and unreal.
Leines lives and works in Brooklyn. He passed through other east coast visual centers, earned a degree from Rhode Island School of Design and spent a few years at Space 1026 in Philadelphia. Free News Projects published a retrospective monograph in 2008 titled, You Are Forgiven. His work has been shown at Deitch Projects, Clementine Gallery and The Hole in New York; Roberts and Tilton and New Image Art in Los Angeles; as well as international venues in Sweden, Italy, Spain, Greece and Japan.
Good copy with wear.
2005, English
Softcover (staple-bound), 24 Pages, 14 x 20 cm
Ed. of 100,
1st Edition, Out of print title / used / good
Published by
Nieves / Zurich
$80.00 - Out of stock
Very rare photocopied zine published by Ed Templeton and Nieves in 2005 in an edition of 100 hand-numbered copies.
Ed Templeton was born in Orange County, a sprawling suburb of Los Angeles. He became interested in skateboarding when he was in junior high school and devoted all his time to it. Templeton’s interest in fine art began as a teen with shopping mall books about canonical painters such as Picasso, Dali, but it was his later discovery of Egon Schiele that would have a profound effect on him. Templeton eventually became a professional skateboarder, which allowed him opportunities to tour Europe. While there, he spent every free moment absorbing its galleries and art museums. Soon after, he realized his first exhibition, a skateboard art show in Chicago. Templeton is owner and creative director for his company, Toy Machine Bloodsucking Skateboard Company. He has also executed design work for Spin, as well as Grand Royal, Geffen and Factory Records. Templeton considers his painting and photography pursuits separate from his skateboarding and design work, which is more graphic based. He has exhibited his work worldwide including exhibitions at Alleged Gallery, New York, Roberts and Tilton, Los Angeles, Modern Art, London, and Aki-X Gallery, Tokyo. Solo museum exhibitions include Museum Het Domein, Netherlands (2000), and Palais de Tokyo, Paris (2002). Templeton currently lives and works in Huntington Beach, California.
Good copy with marking and wear to covers/spine.
1973, Japanese
Hardcover (w. dust jacket in slipcase w. obi strip), 80 pages, 32 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Kawade Shobo Shinsha / Tokyo
$120.00 - Out of stock
First edition of this wonderful 1976 slip-cased hardcover monograph on German artist Friedrich Schröder-Sonnenstern, considered one of the most important representatives of Art Brut or Outsider Art. Bound in green cloth and wrapped in illustrated original dust-jacket, this heavily illustrated book surveys Schröder-Sonnenstern's incredible paintings and drawings through beautiful colour and monochrome gravure reproductions, with alongside various texts, biography, bibliography and portrait of the artist. Published as volume 7 of the deluxe La Septième Face du Dé series by Kawade Shobo Shinsha in Japan in the 1970s, all later re-printed in the 2000s. All editions now out-of-print.
Friedrich Schröder-Sonnenstern was a draftsman, painter and poet-philosopher. Born in 1892 in East Prussia, one of thirteen children, all of whom apart from one other died shortly after birth. He was sent to a number of reform schools due to accusations of theft and violent behaviour and then, at the age of twenty-six, he was diagnosed with schizophrenia and committed to a sanatorium. His experiences as a child contributed to his lifelong hatred of authority. One year later he showed up in Berlin, where he occupied himself with occultism, divination and healing magnetism. He founded a sect and distributed its income in the form of bread rolls to poor children, earning him the title "Schrippenfürst of Schöneberg". He created the name Sonnenstern (English: Sun Star) for himself while working as a con-artist, posing as a Quack doctor in "natural health", calling himself Professor Dr. Eliot Gnass von Sonnenstern. This career path was cut off by the Nazis' interdiction of occult practices, and after being confined in psychiatric institutes and in a penal camp, Schröder-Sonnenstern reemerged in 1944, scavenging firewood in the bombed-out German capital. Only in his late fifties, in 1949, did he begin to draw, using coloured pencils to create allegorical grotesques stocked with a personal iconography. Although his art was rarely shown, he was championed in Surrealist and art brut circles; Jean Dubuffet and Hans Bellmer were among his admirers, and a few drawings were included in Marcel Duchamp and André Breton's 1959 "Exposition inteRnatiOnale du Surréalisme" in Paris. The demand for his pictures by collectors and gallerists rose rapidly and he resorted to employing assistants to produce his work for him. His success was short-lived when he began to paint less and less and became the victim of counterfeiting cliques by his assistants, destroying his position in the art market. He became increasingly dependent on alcohol following the death, in 1964, of his long-time companion, Martha Möller whom he called Aunt Martha. He died almost forgotten and impoverished in 1982 in Berlin.
Good-Very Good copy. General wear to protective slip-case and publisher's obi-strip. Book with light spotting to the back cover otherwise Very Good dust jacket and internally perfectly preserved, crisp and clean throughout.
1972, German
Softcover, 112 pages, 21 x 14.5 cm
Signed,
1st Edition, Out of print title / used / very good
Published by
Hanser / Münich
$160.00 - In stock -
Lovely rare German book published in 1972 on Friedrich Schröder-Sonnenstern (1892-1982). First and only printing, this copy signed by the artist himself! With die-cut cover and illustrated throughout in black and white with Schröder-Sonnenstern's incredible drawings and paintings, this intimate book collects his tape-recorded monologues, autobiographical passages and literary texts, giving deep insight into one of the most important representatives of "Art Brut" or "Outsider Art". Schröder Sonnenstern's paintings depict erotic and fantastical figures with distorted body parts such as breasts and genitalia, part human and part monster. He used coloured pencil over a thin wash of paint to give depth to his line drawings. Notable works include the demonic Zynus Theory (1953), Vitanovaseturine (1951-2) and several works on the theme of the Fall of man, including Uschastelynore (1951) and The Snake Seduction (1955).
Friedrich Schröder-Sonnenstern was a draftsman, painter and poet-philosopher. Born in 1892 in East Prussia, one of thirteen children, all of whom apart from one other died shortly after birth. He was sent to a number of reform schools due to accusations of theft and violent behaviour and then, at the age of twenty-six, he was diagnosed with schizophrenia and committed to a sanatorium. His experiences as a child contributed to his lifelong hatred of authority. One year later he showed up in Berlin, where he occupied himself with occultism, divination and healing magnetism. He founded a sect and distributed its income in the form of bread rolls to poor children, earning him the title "Schrippenfürst of Schöneberg". He created the name Sonnenstern (English: Sun Star) for himself while working as a con-artist, posing as a Quack doctor in "natural health", calling himself Professor Dr. Eliot Gnass von Sonnenstern. This career path was cut off by the Nazis' interdiction of occult practices, and after being confined in psychiatric institutes and in a penal camp, Schröder-Sonnenstern reemerged in 1944, scavenging firewood in the bombed-out German capital. Only in his late fifties, in 1949, did he begin to draw, using coloured pencils to create allegorical grotesques stocked with a personal iconography. Although his art was rarely shown, he was championed in Surrealist and art brut circles; Jean Dubuffet and Hans Bellmer were among his admirers, and a few drawings were included in Marcel Duchamp and André Breton's 1959 "Exposition inteRnatiOnale du Surréalisme" in Paris. The demand for his pictures by collectors and gallerists rose rapidly and he resorted to employing assistants to produce his work for him. His success was short-lived when he began to paint less and less and became the victim of counterfeiting cliques by his assistants, destroying his position in the art market. He became increasingly dependent on alcohol following the death, in 1964, of his long-time companion, Martha Möller whom he called Aunt Martha. He died almost forgotten and impoverished in 1982 in Berlin.
Very Good copy, signed in pencil by Friedrich Schröder-Sonnenstern. Light tanning to the front cover and small shadow from former sticker.
2004, German
Softcover, 144 pages, 24 x 16.5 cm
Ed. of 800,
1st Edition, Out of print title / used / very good
Published by
Wunderhorn / Heidelberg
$190.00 - Out of stock
First edition of this very rare, long out-of-print catalogue published to accompany a unique exhibition at the Sammlung Prinzhorn Museum presenting the artworks of adolescent drug patients collected between 1960 and 1980 by the doctor Hanswilhelm Beil (1924-2002). A year before his death, Beil bequeathed more than 300 paintings, drawings and graphics from his general practice in Hamburg where he looked after over 5,000 drug patients for more than 25 years from 1965 onwards. The young patients who left their work to the doctor were not professional artists, but rather young people who wanted to depict changed states of consciousness or artistically who wanted to work on the divergence of personality and world perception. Illustrated throughout with selections of these wonderful "intoxicated pictures", the volume also contains many essays and contributions from his former patients.
Published in a limited edition of only 800 copies.
Edited by Henrik Jungaberle and Thomas Röske.
Dr. Thomas Röske (b. 1962) is a freelance writer, curator and head of the Prinzhorn Collection at the Heidelberg University Psychiatric Clinic. He studied art history, musicology and psychology in Hamburg and obtained his doctorate in 1991 with a published thesis on Hans Prinzhorn ("The doctor as an artist. Aesthetics and psychotherapy by Hans Prinzhorn [1886-1933]"). Röske specialises in the “Psychic energies of the visual arts”.
Henrik Jungaberle (b. 1967) is a scientist, prevention practitioner and consultant, researching the effects and handling of drugs.
The Prinzhorn Collection is a German collection of art made by mental health patients, housed at the Heidelberg University Hospital. The collection comprises over 20,000 works that Hans Prinzhorn (1886-1933), art historian and doctor, built up from psychiatric institutions in the post-war years of the First World War, with the support of Karl Wilmanns, the head of the Heidelberg Psychiatric Clinic. The collection brings together drawings, paintings, collages, textiles, sculptures and an abundance of different texts that were created between 1880 and 1920 in psychiatric hospitals, mainly in German-speaking countries. Works from the collection were included in Entartete Kunst, the famous 1937 Nazi exhibition of 'degenerate' art. In 1973 a conservation effort was undertaken that led to the restoration and cataloguing of the collection. The collection was influential on the practice of the artist Jean Dubuffet, who visited it in 1950. Writing to Henri Matisse, Dubuffet described it as "something I have dreamt of for years".
Fine - Very Good copy.
1983, Japanese
Hardcover (clothbound w. dustjacket), 152 pages, 20.5 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Orion Press / Tokyo
$160.00 - Out of stock
Rare, exquisitely designed and produced book dedicated entirely to the photography of the German artist Hans Bellmer (13 March 1902 – 23 February 1975), best known for the life-sized pubescent female dolls he produced in the mid-1930s. "Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he'd been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925)."
Produced in French by Editions Filipacchi, Centre Georges Pompidou, and Musee National D'art Moderne in Paris in 1983, this very scarce Japanese printing (produced and printed in Japan that same year) features a different cover, with translations to the Japanese language of the introductory essay and texts. Densely illustrated with amazing and beautifully printed colour and black and white photography of Bellmer's dolls, many studies of the female nude, and photography of objects and sculptural assemblages, this book is a wonderful volume capturing an important Surrealist visionary of our time through his stunning photography.
Very good copy in dust-jacket, age tanning to edges/cover,
wear/small chipping to jacket corners.
2020, English / German
Softcover (w. dust jacket), 52 pages, 30 x 24 mm
Published by
Tramps Ltd / New York
Koenig Books / London
$59.00 - Out of stock
A companion catalogue for Kai Althoff's intimate and enduring exhibition of new paintings and works on paper presented at TRAMPS New York October 2018 - January 2019, Häuptling Klapperndes Geschirr. Illustrated throughout with photographs of the exhibition and the works taken by Althoff himself, and accompanied by a very personal text by DovBer Naiditch (“On Kai and His Art – with some digressions concerning my children”), an essay by Ansgar Murr, and a poem by musician and artist Hanayo Takajima. Includes a fully illustrated catalogue of all the works from the exhibition, all printed on various stocks.
Kai Althoff is widely considered to be one of the most influential contemporary artists of his time. Painting and drawing play a central role in his diverse and very personal practice that also includes music, film / video, performance and sculpture.
Texts in English and German.
Design by Kühle und Moder.
2019, English
Softcover (w. dust jacket), 60 pages, 30 x 22 cm
Published by
Christchurch Art Gallery Te Puna o Waiwhetū / New Zealand
$25.00 - In stock -
Catalogue published to accompany Brent Harris' "Towards The Swamp" exhibition at Christchurch Art Gallery Te Puna o Waiwhetū, 2019-2020, curated by Lara Strongman. Illustrated through in colour and b/w with texts by Lara Strongman, Robert Leonard and Justin Paton.
Swamps are darkly fertile places where death and life co-exist, and where new life emerges from the traces of the old. Neither quite land nor quite water, but existing somewhere between them, the swamp is a place of constant becoming. It's a useful metaphor for the human psyche, as well as a way to think about the starting point for creativity...
New Zealand-born artist Brent Harris is a leading, high-profile contemporary artist in Australia. Harris’s art explores uneasy psychological states and childhood trauma. He uses automatic drawing – a way of working that allows the subconscious to rise to the surface – as his starting point to create grotesque, elegant and immediately engaging works of art.
2003, Japanese
Hardcover (w. dust jacket and obi strip), 27.2 x 23.6 cm
1st Edition, Out of print title / used / very good
Published by
Tokuma Shoten - Studio Ghibli / Japan
$140.00 - In stock -
First hardcover edition of the world's first artist's book written by Russian animation artist Yuri Norstein, and published only in Japan by Isao Takahata and Hayao Miyazaki of Studio Ghibli.
Translated by Hiroko Kojima, the title refers to the nickname of Norstein's wife, Russian artist Franchesca Yarbusova. It describes in Norstein's own words his childhood memories and his life with close-collaborator Yarbusova. The book reveals the secrets of the creation and process of his award-winning animations, including the landscapes and the people who became the models for the characters in his films. Lavishly illustrated throughout with countless drawings and paintings for his films "The Fox and the Hare" (1973), "The Heron and the Crane" (1974), "Hedgehog in The Fog" (1975), "Tale of Tales" (1979), and his unfinished masterpiece "The Overcoat", amongst others, the book weaves Norstein's film imagery, character studies, and photographs together with his deeply personal reflections and life experiences, alongside biographies of both Norstein and Franchesca Yarbusova. A very special book, heavily illustrated throughout.
Yuri Norstein (b. 1941) is a Soviet and Russian animator. Born to Jewish parents and raised in a Moscow suburb, Yuri Norstein painted as a hobby and trained as a carpenter before studying animation. He directed his first film in 1968 and made a series of short films notable for their attention to atmosphere and fine detail, using his sophisticated multiplane camera technique to create the illusion of shifting three-dimensional depth. Throughout the 1970s Norstein was prolific, working on many award-winning films including Hedgehog in the Fog (1975), one of the director's most widely known works, and his 1979 film Tale of Tales, acclaimed by animation experts as the best animated film of all time.
Very Good copy in Good dust jacket (with some very light edge wear), preserved with publisher's original obi-strip in mylar wrap.
2004, Japanese / English / Russian
Softcover (in card slipcase), 242 pages, 30.6 x 27.6 cm
1st Edition, Out of print title / used / fine
Published by
Fusion / Tokyo
$200.00 - Out of stock
The best book ever made on the work of the great Soviet and Russian animator Yuri Norstein (b. 1941). Born to Jewish parents and raised in a Moscow suburb, Yuri Norstein painted as a hobby and trained as a carpenter before studying animation. He directed his first film in 1968 and made a series of short films notable for their attention to atmosphere and fine detail, using his sophisticated multiplane camera technique to create the illusion of shifting three-dimensional depth. Throughout the 1970s Norstein was prolific, working on many award-winning films including Hedgehog in the Fog (1975), one of the director's most widely known works, and his 1979 film, 'Tale of Tales', acclaimed by animation experts as the best animated film of all time.
This stunning oversized book was published in Japan-only in 2004 (now long out-of-print) and looks at the entire history of Norstein's masterful film works, thoughtfully designed using various paper stocks including wax films to mimic the effects of Norstein's animations. Housed in the original publisher's cardboard slipcase, "The Works of Yuri Norstein" is profusely illustrated to give the most intimate, in-depth introduction to his unique production process, including to-scale reproductions of his working character cut-outs, storyboards, esquisses, countless film stills, working materials and paintings used in the films, technique diagrams, illustrations and photographs, studio and personal photographs, and copious drawings of Norstein's beloved characters. Also includes historical texts on Norstein's life and career, biographies of Norstein and his frequent collaborator and wife, the award winning Russian artist Franchesca Yarbusova, and work index, and additional essays (in Japanese). All image captions and blurbs throughout the book are in English, Russian and Japanese. Very highly recommended!
Very Good-Fine copy preserved in VG-fine slipcase.
2020, English
Hardcover, 432 pages, 25 x 30 cm
Published by
Hirmer / Münich
$100.00 - Out of stock
Comprehensive hardcover catalogue published to accompany the first major presentation of women surrealist artists at the Schirn Kunsthalle, Frankfurt, and Louisiana Museum of Modern Art, Humlebæk. This groundbreaking exhibition shows that women played a more important and numerous role in Surrealism than in any other artistic avant-garde movement. Mostly connected through their association with Surrealist co-founder André Breton, Surrealism nurtured a prolific group of women artists who actively took part in the seminal exhibitions and publications of the day and expanded the formulations of the movement, taking on different roles in search for a (new) model of female and artistic identity. This expansive exhibition and catalogue revisits their diverse Imaginaries and underlines the consistency of their social and even political positions, spanning networks from Europe/UK to the US and Mexico.
“On the whole, the [Surrealist] movement in many ways strikes as decidedly ‘feminine’, since it rejected all traditionally masculine, patriarchal, and imperialist structures,” notes curator Dr. Ingrid Pfeiffer. This scholarly exhibition reveals how the movement was shaped by many more female artists than art historians have hitherto recognized.
Profusely illustrated throughout with essays by Patricia Allmer, Tere Arcq, Kirsten Degel, Heike Eipeldauer, Annabelle Görgen-Lammers, Rebecca Herlemann, Karoline Hille, Silvano Levy, Alyce Mahon, Christiane Meyer-Thoss, Laura Neve, Ingrid Pfeiffer, and Gabriel Weisz Carrington as well as biographies of the individual artists.
Artists featured : Eileen Agar, Lola Álvarez Bravo, Rachel Baes, Louise Bourgeois, Emmy Bridgwater, Claude Cahun, Leonora Carrington, Ithell Colquhoun, Maya Deren, Germaine Dulac, Nusch Éluard, Leonor Fini, Graverol, Valentine Hugo, Frida Kahlo, Rita Kernn-Larsen, Greta Knutson, Jacqueline Lamba, Sheila Legge, Dora Maar, Emila Medková, Lee Miller, Suzanne Muzard, Meret Oppenheim, Valentine Penrose, Alice Rahon, Edith Rimmington, Kay Sage, Sophie Taeuber-Arp, Jeannette Tanguy, Dorothea Tanning, Elsa Thoresen, Bridget Tichenor, Toyen, Remedios Varo, Unica Zürn
2017, English
Hardcover, 319 pages, 23 x 27.5 cm
Published by
Hammer / Los Angeles
Prestel / Munich
$95.00 - Out of stock
Bringing together five decades of painting, sculpture, and installations from the celebrated Italian artist Marisa Merz, this major hardcover monograph accompanies a major US retrospective of her work. This generously illustrated book offers readers the chance to appreciate the full range of works by Marisa Merz, winner of the 2013 Golden Lion lifetime achievement award at the Venice Biennale. This volume traces Merz's artistic evolution from early experiments with non-traditional materials and processes, to intricately constructed installations of the 1970s and the enigmatic ceramic heads of the 1980s and '90s. Authoritative essays explore the rise of international women's art in the 1960s and '70s and Merz's own place in Italy's postwar art history. As the sole female protagonist of Arte Povera she is one of the few Italian women to exhibit in major venues internationally. Merz's challenging and evocative body of work is deeply personal and resistant to the categories of art history, including Arte Povera and international feminist art, with which she was associated. Previously unpublished texts and poetry by the artist, and an illustrated chronology, complement this comprehensive look at an enormously influential artist.
Texts by Connie Butler, Ian Alteveer, Carolyn Christov-Bakargiev, Leslie Cozzi, Teresa Kittler, Lucia Re, Cloe Perrone, Tommaso Trini.