World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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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.
2017, English
Softcover, 550 pages, 21 × 28 cm
Published by
Novembre / Lausanne
$45.00 - Out of stock
Novembre 11: Isa Genzken, Sanya Kantarovsky, Jessi Reaves, Thomas Hauser, Dan Hoy, Ib Kamara, Robert Kulisek, Corey Olsen, Olympia Scarry, Alexandra Bircken, Ada Sokol, Hans Ulrich Obrist, Danielle van Camp and many more.
Reinforcing Novembre as a collectible object, issue 11 presents outstanding visuals, exclusive poetry, typographic collaborations, and the leading fashion collections.
Under the candid caption “arts and fashion in Switzerland and the world”, Novembre activates intergenerational discussions, producing international content that explores the critical stakes inherent to the Swiss identity: its neutrality notably fortifies its supposed integrity and inviolability, whilst placing the Confederation in an extremely productive and influential position within the arts on a global level.
Through the organic association of fashion, design and art, Novembre highlights the products which proliferate in schools, studios, galleries, showrooms, institutions, trade shows, fairs, hotels and bank lobbies and living rooms – addressing issues of integration, independence, equality, and exchange.
Novembre is currently published and independently by Florence Tétier (Paris), Florian Joye (Lausanne), and Jeanne-Salomé Rochat (Berlin), who united after their graduation from ECAL University of Arts, Switzerland.
1998, English / Japanese
Softcover, 500 pages, 29 x 36 cm
1st edition, Out of print title / used*,
Published by
GAP Japan Co. Ltd. / Tokyo
$130.00 - Out of stock
Incredible 1998 edition (with Yohji Yamamoto cover) of the mighty Prét-Á-Porter Collections (Paris / London) from gap Tokyo! Each huge, over-sized edition of gap Collections feature thorough runway coverage of the latest collections from top international brands to cutting edge designers presented in NY, London, Milan, Paris, Tokyo, Madrid, Barcelona, Sao Paulo during biannual celebrated fashion events. The creativity of the most sought after designers were reproduced in high quality photographs direct from the runway and only published here, in the case of this heavy volume 1,500 original photos all in full-colour! Featured in the issue are the 1998 collections of Yohji Yamamoto, Vivienne Westwood, Christian Dior, Givenchy, Chanel, Jean-Paul Gaultier, Chloé, John Galliano, Helmut Lang, Ann Demeulemeester, Dirk Bikkembergs, Jean Colonna, Costume National, Junya Watanabe Comme des Garçons, Dries Van Noten, Hermés, Martine Sitbon, Valentino, Claude Montana, Cerruti, Balenciaga, Lolita Lemopicka, Lanvin, Yves Saint Laurent, Christian Lacroix, Guy Laroche, Jerome L'Huillier, Enrica Massei, Marcel Marongiu, Christophe Lemaire, Eric Bergere, Isabel Marant, Barbara Bui, Masaki Matsushima, Sonia Rykiel, Kenzo, Corinne Cobson, Junko Shimada, Dice Kayek, Yuki Torii, Yoshiki Hishinuma, Paco Rabanne, Celine, Maurizio Galante, Angelo Tarlazzi, Jaques Fath, Leonard, Veronique Leroy, Atsuro Tayama, Zucca, Nina Ricci, Slowik, Kosta Murkudis, Isabelle Ballu, Hervé Léger, 0.9 18 OOTORII, Koji Nihommatsu, Alexander McQueen, Hussein Chalayan, Matthew Williamson, Bella Freud, and so many more, creating a wealth of archival fashion imagery from the late 1990s.
2017, English
Softcover, 144 pages, 28.5 x 22 cm
Published by
Walther König / Köln
$48.00 - Out of stock
This publication presents de Rooj’s private collection of sportswear by Dutch designer Fong Leng.
Offering a focus on these supposedly trivial, mass-produced objects de Rooij creates groups of similar labels, colours and patterns that expose cross-references. Thus it becomes apparent that many of the surfaces recur to techniques and patterns of a wide variety of cultural spheres, such as caucasian carpets or Navajo blankets. Others seem to address sports as part activity, part status symbol.
Some of the prints and applications recall North American quilts or the specific Adiretechnique known from Ghana. The outcome of this is a contemporary discourse of fashion, gender and identity as much as within the oeuvre of Willem de Rooij.
2016, English / Japanese
Softcover, 248 pages, 23 x 30 cm
Published by
Kyuryudo / Tokyo
$80.00 - Out of stock
This impressive volume is part of an exhibition at the National Art Center, Tokyo, in 2016, the first full-scale retrospective to showcase the myriad ideas that have emerged over the course of the designer’s career, from his earliest activities to current projects. Widely recognised for his technology-driven clothing designs, exhibitions, and fragrances, Issey Miyake has been stimulating the world of culture and fashion for almost half a century with his organic and skilfully articulated repertoire, fuelled by boundless curiosity and love of experimentation. The catalogue explores the main themes of his innovative drive, complemented by Hiroshi Iwasaki’s expert photography.
1984, English
Softcover, 156 pages (260 b/w & 140 colour ill.), 28.0 x 23.0 cm
Out of print title / Used*,
Published by
Thames and Hudson / London
$65.00 - Out of stock
Edited by Andrea Branzi, The Hot House was one of the finest books published to trace the history of Italy's radical design studios from 1960 to the dawn of Memphis. Through academic texts and profuse visual documentation of the work of Alessandro Mendini, Gaetano Pesce, Superstudio, Ettore Sottsass, Natalie Du Pasquier, UFO Group, Enzo Mari, Alchymia, Michele De Lucchi, 9999, Archizoom Associati, Mattheo Thun, Memphis, and many others.
1999, English
Softcover, 228 pages, 21 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Maison Martin Margiela / Paris
$200.00 - Out of stock
The scarce first joint edition of this great visual archive, designed, edited and published by Maison Martin Margiela!
In 1995, Tokyo-based Street magazine approached the Paris fashion house of Martin Margiela with an invitation to publish a special edition dedicated to its work. Maison Martin Margiela guest-edited the magazine, and was solely responsible for the selection of images and presentation, which includes many previously unpublished photographs from its archives. The success of the first volume led to the publication of a second instalment in 1999, and together the two special issues cover every Martin Margiela collection from Spring/Summer 1989 through to Spring/Summer 1999, including heavy visual documentation of the presentations, events, studio, ephemera, behind the scenes, garment details, and much more.
In 1999, Maison Martin Margiela himself collected together both volumes into this now collectable book. After quickly selling out, it was made available once more in 2013 by Street Editorial Office, that is now also out of print.
Please note that this is the first book printing from MMM in 1999.
1990, English
Softcover, 90 pages, 23 x 23 cm
1st Edition, Out of print title / used*,
Published by
Architecture Design and Technology Press / London
$35.00 - Out of stock
In the 1970s, manager Malcolm McLaren asked a young Ben Kelly to refurbish a basement rehearsal room for The Sex Pistols in Denmark Street, London, which McLaren had bought from Badfinger. Ben Kelly went on to become an enormously influential and original, independent designer whose work has included private houses, shops, nightclubs, showrooms and furnishings, established throughout the 1980s and 1990s in London. Among his best-known projects have been the much-imitated Manchester nightclub, the Haçienda, the Smile hairdressing salon in Chelsea, and the colourful entrance to the underground Gymbox in London. All show the obsessive attention to detail characteristic of the Kelly style, and which is also expressed in this book, art directed by Peter Saville, a collaborator on several award-winning graphic projects, including their record sleeve designs for Factory Records, whom Kelly worked for on many projects (the Haçienda of course being one of them).
Kelly uses this book to examine the way design evolves, to record the influences on his work, and to explore the relationship between art and design. Ben Kelly has twice won D&AD awards for graphics, and this book is another outstandingly designed object under the talented Peter Saville. It encapsulates a design practice at an important transitional period in British design, developing through Punk Rock via Post Modernism and into High-Tech, Industrial and beyond.
Catherine McDermott introduces Kelly, and provides a catalogue of his work.
First and only UK edition, published by Architecture, Design and Technology Press in London under their Design File series.
2017, English / German
Softcover (w. printed plastic wraps), 340 pages, 16.5 x 23.4 cm
Published by
Kunsthaus Bregenz / Austria
Walther König / Köln
$58.00 - Out of stock
The present book – the fourth and last volume in the series of KUB Arena publications – goes far beyond a documentation of KAMP KAYA’s activities. Rather it is the very first comprehensive publication on KAYA, a joint project initiated by the painter Kerstin Brätsch and the sculptor Debo Eilers in 2010, in collaboration with the then 13-year-old Kaya Serene. In addition to a comprehensive and carefully compiled catalogue raisonné, the publication documents all of KAYA’s past exhibitions and includes seminal essays by Boško Blagojević, Scott Roben, and Kerstin Stakemeier – who have all been following KAYA’s work for many years – as well as a conversation with Burmamyanmar aka Daniel Chew. Altogether the publication provides profound insights into this important and exceptional artistic collaboration. In a similar manner to the volumes that have been published to date (On Performance, Anfang Gut. Alles Gut. Actualizations of the futurist opera Victory Over the Sun (1913), and Art and Ideology Critique After 1989), this last volume in the series could also potentially become one of the key references on the topic.
Edited by Eva Birkenstock
with texts by Boško Blagojević, Scott Roben, and Kerstin Stakemeier
Graphic design: HIT Berlin
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1996, English
Softcover, 238 pages, 23 x 30.5 cm
Out of print title / used*,
Published by
Rizzoli / New York
$70.00 - Out of stock
"The influence of Surrealism on fashion and its ancillary arts lasted decades longer than the movement itself. This catalog, accompanying a 1987 exhibition at Fashion Institute of Technology, explores the extravagances of visual language as social and political comment, a revolution in perception."--The Library Journal.
"The love affair between fashion and Surrealism began in the Paris of the 1920s when Surrealist artists plundered fashion's imagery for their art, raising fashion beyond the level of mere style to an important expression of culture. This text reveals the extravagent and ingenious creations resulting from this collaboration. It ranges from the shocking Surrealist dresses of Schiaparelli and Dali, and photographic experiments with Surrealist techniques by Horst P. Horst, Cecil Beaton and George Hoyningen-Huene to the work of younger fashion designers, including Olivier Guillemin and Vivienne Westwood, who have all brought Surrealist imagery into clothing and accessories."
This bountiful, visually lavish volume, published to accompany a 1987 exhibition at Fashion Institute of Technology, features the garments, paintings, sculptures, illustrations, window displays, fashion advertisements, costume designs and photography of Man Ray, Cecil Beaton, Issey Miyake, Horst P. Horst, Cinzia Ruggeri, Vivienne Westwood, Thierry Mugler, Krizia, Giorgio De Chirico, Meret Oppenheim, Max Ernst, Donatella, Rene Magritte, Comme des Garcons, Enrico Donati, Elsa Schiaparelli, Salvador Dali, Marcel Rochas, Jaques Griffe, Adelle Lutz, Marina Killery, Dominique Lacoustille, Emme, Stephen Jones, Louise Bourbon, Bill Cunningham, Germaine Vittu, Eric Braagaard, Karl Lagerfeld, Candy Pratts Price, Serge Lutens, Antonio, Linda Fargo, Claude Montana, Georgina Godley, Olivier Guillemin, Yves Tanguy, Christian Lacroix, Valentine Hugo, Paul Colin, Francoise Lesage, Yves Saint Laurent, Jean Cocteau, Adam Kurtzman, Herbert Bayer, Mel Odom, Jean-Paul Gaultier, Alfa Castaldi, Leo Malet, Jorge Silvetti, Gabriella Giandelli, Givenchy, Marcel Jean, Jean-Charles de Castelbajac, Michael Roberts, Marcel Vertés, Bert Stern, John Galliano, Danuta Riyder, Paul Delvaux, Manolo Blahnik, Dorothea Tanning, Eileen Agar, Miguel Covarubias, Cristobal Balenciaga, Andre Masson, Leonor Fini, Roman Cieslewicz, Shoji Ueda, Louise Dahl-Wolfe, Bruce Weber, Robert Mapplethorpe, A. M. Cassandre, Peter Lindbergh, Claude Cahun, Jean Arp, and so many more.
1993, English
Softcover, 224 pages, 26 x 33.5 cm
1st Edition, Out of print title / Used*,
Published by
Pavilion Books / London
$190.00 - Out of stock
The now very collectable "Nova 1965-1975" was issued in 1993 by Pavilion, in London, and is a comprehensive celebration of the iconic and pioneering 1960-1970s British style magazine, Nova.
Features the work of Harry Peccinotti, Helmut Newton, Sarah Moon, Diane Arbus, Issey Miyake, Jeanloup Sieff, Hans Feurer, Zandra Rhodes, Bob Richardson, Jonvelle, Alan Aldridge, Terence Donovan, Kansai Yamamoto, Saul Leiter, Caroline Baker, David Hillman, and many more.
A product of the creative cauldron in "Swinging London", Nova was avant-garde in every aspect: its typography and layout, illustration and photography. It offered a mixture of daring and artistic imagery with unconstrained writing which had never been done before, and marked a period of real innovation in magazine design. This over-sized volume shows every Nova cover, and over 200 photographs and layouts of key features. The accompanying words tell the story of the magazine and the people who made it, how Nova influenced and was influenced by the times, and is complemented by a "time-line" of events, the signposts of the era. But the lavishly reproduced images, such as the groundbreaking "How to Undress in Front of Your Husband" speak largely for themselves. Not only of specialist interest to designers and artists, and nostalgic interest to avid subscribers, this is also a visual document of times of great change, of the political and cultural upheavals which brought us platform soles and flares, Mick Jagger and Ted Heath. David Hillman was art director for "Nova" from 1969 until it closed in 1975. He was also deputy editor during that time. Harry Peccinotti was the magazine's first art director and regular photographer throughout.
1993, English / Italian
Softcover, 130 pages, 24.5 x 33 cm
1st edition, Out of print title / used*,
Published by
Versace / Italy
$120.00 - Out of stock
Rare 1993 catalogue look-book for Versace's "Collezione Uomo Primavera Estate 1993" with photography by Beppe Caggi, Rohn Meijer, Doug Ordway.
These early 1990s Versace over-sized photo catalogues perfectly visually embody the Versace aesthetic in book-form, with page after page filled with colour-saturated images of luxurious catwalk photography, textile details, model photoshoots, accessories, shoes, backstage, Versace advertisements, graphics and Versace's diary (with Italian and English text).
Art Directed by Donatella Versace herself, with Paul Beck to the incredible backdrop of Miami Beach and the Miami Seaquarium!
2016, English
Softcover (over-sized), 136 pages, 25 x 37 cm
$58.00 $15.00 - Out of stock
encens is a fashion magazine from France, presenting a very selective number of designers, edited by Samuel Drira and Sybille Walter.
encens 36 "Mindscape" (Spring/Summer 2016) features Susan Sontag, Serge Lutens, Isabelle Weingarten, Cartier, Comme des Garçons, Annie Leibovitz, Nehera, Giorgio Armani, Hed Mayner, Angelo Flaccavento, James Benning, Carol Bove, Uma Wang, Veronique Branquinho, Issey Miyake, Carlo Scarpa, Lene Berg, Lutz Huelle, Givenchy, Dries Van Noten, Sonia Rykiel, Azzadine Alaia, Yohji Yamamoto, Willie Christie, Axl Jensen, Chanel, Celine, Lemaire, Veronique Leroy, Dior Homme, Maison Martin Margiela, Vivienne Westwood, Linda Loppa, Bless, Juun J., Christopher Williams, Friedrich Kiesler, Pierre Cardin, Hermes, and many more.
2016, English
Hardcover, 1012 pages, 30 x 24 cm
Published by
Self Service / Paris
$45.00 - Out of stock
Self Service No. 45 Fall / Winter 2016: The New Femininity
Features : Luna Bijl photographed by David Sims, Raquel Zimmermann by Inez and Vinoodh, Rianne van Rompaey and Edie Campbell by Cass Bird, The House of Vetements, Juergen Teller, Alasdair McLellan, Anna Ewers by Terry Richardson, and Charlotte Rampling by Ezra Petronio. With model mothers Amber Valetta, Mini Anden and Heidi Mount and their children. Dialogs with Charlotte Rampling, Emmanuelle Seigner, Emily Weiss, and Melanie Ward, among many others. Edie Campbell and Harriet Quick write about what is femininity, and much more.
Self Service magazine is a fashion and cultural biannual magazine. The magazine features the preeminent players in the fashion world, with innovative editorials photographed by the world’s best photographers and stylists.
Note: Due to the size/weight of this volume, your order will possibly incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
2007, English
Softcover, 16.5 x 24.1 cm, 152 pages (27 color ill.)
Published by
Art in General / New York
Sternberg Press / Berlin
$32.00 - Out of stock
“For this book Bernadette Corporation uses screenplay formatting software and the screenplay form with no intention to produce a film or communicate anything. ... the hack is used as a starting point for a literature, with hack tools in a hack medium. EINE PINOT GRIGIO, BITTE to remind you of the necessity to understand that all creativity is equal.” Bernadette Corporation
A novel-in-disguise, Eine Pinot Grigio, Bitte is a dark foray into capitalism gone awry. Set against a backdrop of decadent zombies, the screenplay follows John Delp and Aude as they shoot a movie in the cities of Paris, Berlin, and Mexico City. With its wild and messy sense for the absurd, Eine Pinot Grigio, Bitte unravels that conventional Hollywood repertoire of screenwriting all to better recycle both fiction and the real.
Eine Pinot Grigio, Bitte is followed by “Pedestrian Memoranda,” a series of notes on Bernadette Corporation's temporary underground film studio, operated from 2005–2007 in Paris, Berlin, and Mexico City.
Bernadette Corporation has previously worked under the guise of an eponymous underground fashion label, published a fashion magazine called Made in USA, produced video-films, including the 2003 documentary Get Rid of Yourself, collectively authored the novel Reena Spaulings (Semiotext[e] 2004), as well as exhibited at the 2006 Whitney Biennial, the Witte de With museum, and the Centre Pompidou.
Co-published by Art in General, New York
1987, Japanese / English
Softcover, 170 pages, 22 x 29.5 cm
1st Edition, Out of print title / used*,
Published by
Kajima Institute Publishing / Tokyo
$70.00 - Out of stock
SD (Space Design): A monthly journal on Art and Architecture.
“SD” (Space Design) was founded in Japan in 1965; a comprehensive monthly magazine on architecture, urban problems and fine arts which was unique in the world and quickly became a leading, highly-esteemed journal of international modern design.
SD no. 260, May 1986
SPECIAL FEATURE: SOTTSASS ASSOCIATES
Includes Susumu Kitahara, Riki Watanabe, Shiro Kuramata, Masanori Umeda, Takashi Sakaizawa, Shigeru Uchida, Takashi Sugimoto, Archizoom, Memphis, Masanori Umeda, Le Corbusier, Sottsass Associates, Ettore Sottsass, Alessandro Mendini, Alchimia and much more.
SD is one of the finest journals dedicated to new design (architecture, furniture, interior, environmental, industrial...), becoming a collector's item and much sought-after archival resource.
1985, Japanese / English
Softcover, 170 pages, 22 x 29.5 cm
1st Edition, Out of print title / used*,
Published by
Kajima Institute Publishing / Tokyo
$60.00 - Out of stock
SD (Space Design): A monthly journal on Art and Architecture.
“SD” (Space Design) was founded in Japan in 1965; a comprehensive monthly magazine on architecture, urban problems and fine arts which was unique in the world and quickly became a leading, highly-esteemed journal of international modern design.
SD (Space Design) no. 253, 1985
SPECIAL FEATURE: SENSATIONAL SPACE
Features profiles on the dynamic interiors of shopping malls, fashion boutiques, discotheques and much more. Includes a feature on Alchimia.
SD is one of the finest journals dedicated to new design (architecture, furniture, interior, environmental, industrial...), becoming a collector's item and much sought-after archival resource.
1988, English
Softcover, 95 pages, 24.5 x 26 cm
1st English edition, Out of print title / used*,
Published by
Chronicle Books / San Francisco
$90.00 - Out of stock
First English edition of SNOOPY IN FASHION, published in 1988!
In the early 1980s Art Director Connie Boucher contacted a long list of the world's most progressive and famous fashion designers of the time, asking each of them to create an original one-of-a-kind designer outfit for Snoopy and his beagle sister Belle. The response was tremendous, with the world-famous designers loving the idea of dressing these world-famous dogs. Boucher's unique concept grew into a fabulous collection of specially designed haute couture modelled exclusively by Snoopy and Belle in an exhibition mounted by museums, galleries, and large department stores in Europe, Asia, Australia, and the United States. The skill and genius of many of the world’s greatest designers breathed tremendous life, verve, and excitement into Connie’s concept, forming SNOOPY IN FASHION in 1984.
For the book, first published in Japan in 1984, photographer Taishi Hirokawa has studio-documented each designer garment, modelled by Snoopy and Belle, one designer or fashion house per page. Designers include Givenchy, Issey Miyake, Karl Lagerfeld, Fendi, Pierre Balmain, Gianni Versace, Jean-Charles de Castelbajac, Thierry Mugler, Missoni, Krizia, L.L. Bean, Jen Paul Gaultier, Popy Moreni, Cinzia Ruggeri, Giorgio Armani, Cacharel, Fiorucci, Esprit, Levi Strauss, Gucci, and so many more!
2016, English / French
Softcover, 168 pages, 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - Out of stock
MAY #15
"FASHION"
contents include:
Preface — MAY
Crisis Fashion — DANIEL HORN
DIS and That — MIKAEL BRKIC & DIS
Vetements – Fall / Winter 2016. Panel Discussion — LOU STOPPARD & SAHIL BABBAR, AUDE FELLAY, AYA NOEL, PRIYESH PATEL, VILDE SORUM
The Modern Naked King — TAQUE HIRAKAWA
Interview with Women’s History Museum — ADA O’HIGGINS
Maison Artists Space. Interview with Stefan Kalmár — MAY
Roundtable — BLESS & ANJA ARONOWSKY CRONBERG, HEINZ PETER KNES
THE STREET — TOBIAS KASPAR & TOBI MAIER
Jesus as Readymade. Interview with Kaspar Müller — PETER FISCHLI
REVIEWS
La mode retrouvée. On the Wardrobe of the Countess Greffulhe at Palais Galliera, Paris — HANNAH ADKINS
Post-Hummannerism. On “Inhuman” at Fridericianum Museum, Kassel — JAKOB SCHILLINGER
Magma — ERIC BELL
Finely Crafted Stool. On Mathieu Malouf at Jenny’s, Los Angeles — GEORGE EGERTON-WABURTON
Wolfpack. On the film “The Wolfpack” by Crystal Moselle — JULIA MORITZ
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
1989, English
Softcover (w. original plastic box), 320 pages, 36.5 x 25 cm
1st edition, Out of print title / used*,
Published by
Robundo / Japan
$260.00 - Out of stock
The very rare, first edition of this comprehensive, visually vibrant book on the design of the pioneering Californian fashion company, ESPRIT, published in 1989 in Japan.
In original plastic box.
In 1968, American environmentalist, adventure film-maker, conservationist and founder of The North Face outdoor clothing company, Douglas Tompkins, his wife Susie, and her friend Jane Tise began selling girls' dresses out of the back of a VW bus; in 1971, they incorporated the booming business under the name "Plain Jane" which later became ESPRIT, one of the hottest and most successful clothing companies of the 1970's, 1980's and 1990's.
From the early days running out of the Tompkins’ apartment in San Francisco, Douglas Tompkins titled himself "image director", overseeing all aspects of the company's image, from store design to catalog layout, while Susie served as design director. All facets of design were of primary importance to ESPRIT and the vision of the Tompkins'. In 1984 the role of art director was taken up by Japanese designer Tamotsu Yagi, who created the iconic "ESPRIT'S GRAPHIC WORK 1984-1986" book in 1987. In 1989, the Japanese art publisher Robundo published “Esprit, the Comprehensive Design Principle," which documented the all-encompassing design principles that Tompkins had created for the brand. From the iconic logo design by John Casado (who aslo designed the first Apple Macintosh Computer logo and album covers for the Doobie Brothers) to the ESPRIT store and office interiors by Ettore Sottsass (of Memphis Design Group and Sottsass Associates) to the fashion campaign photography of Oliviero Toscani (also well-known for his controversial campaigns for Benetton, work for Fiorucci and as co-founder of Colors magazine) this wonderfully designed (by Tamotsu Yagi, ESPRIT's art director of the era), over-sized book contains hundreds of photographs and graphics documenting the ESPRIT identity and character. A perfect survey of commercial design, the colourful pages include product packaging, clothing, pop accessories, fashion photography, advertisements, various identity and event collateral (party announcements, posters, flyers, business cards), apparel print graphics, and a huge section on the interior architecture and retail environment design across their many flagship stores, cafes and offices, largely designed by Ettore Sottsass and Sottsass Associates.
A visually dazzling book and a wonderful, rare piece of commercial design history.
First edition, 1989.
Due to the weight of this volume, your order will possibly incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
2016, English
Softcover, 382 pages, 24 x 17 cm
Published by
Distanz / Berlin
$50.00 - Out of stock
The Present in Drag is published as a companion volume to the 9th Berlin Biennale for Contemporary Art, which was curated by New York collective DIS. Providing information on the works shown in the exhibition, it also includes contributions by Roe Ethridge, Simon und Daniel Fujiwara, Boris Groys, Katja Novitskova, Chus Martinez, Bjarne Melgaard, Sean Patrick Monahan, Sabine Reitmaier, McKenzie Wark, and others.
The 9th Berlin Biennale for Contemporary Art features the work and contributions of: 69, Antoni Abad, Halil Altindere, Ei Arakawa (in collaboration with Dan Poston, Stefan Tcherepnin), Korakrit Arunanondchai/Alex Gvojic, atelier le balto, Armen Avanessian/Alexander Martos (in collaboration with Christopher Roth), åyr, Will Benedict, Julien Ceccaldi, Centre for Style
(in collaboration with Anna-Sophie Berger; Burkhard Beschow & Anne Fellner; Max Brand; Rare Candy with Alden Epp, Spencer Lai, Natasha Madden, Misty Pollen, Ander Rennick & Amber Wright; Susan Cianciolo; Marlie Mul; Liam Osborne; H.B. Peace & Kate Meakin; Joshua Petherick; Lin May Saeed; Eirik Sæther), Brody Condon, CUSS Group (in collaboration with ANGEL-HO, FAKA, Megan Mace, NTU), Kathleen Daniel, Debora Delmar Corp., Simon Denny with Linda Kantchev, Cécile B. Evans, Nicolás Fernández, Lizzie Fitch/Ryan Trecartin, Simon Fujiwara, GCC, GUAN Xiao, Calla Henkel/Max Pitegoff, Camille Henrot, Yngve Holen, Alexa Karolinski/Ingo Niermann, Kartenrecht, Josh Kline, Korpys/Löffler, Nik Kosmas, M/L Artspace, Shawn Maximo, Ashland Mines, Katja Novitskova, Trevor Paglen/Jacob Appelbaum, Juan Sebastián Peláez, Adrian Piper, Alexandra Pirici, Josephine Pryde, Puppies Puppies, Babak Radboy, Jon Rafman, Timur Si-Qin, Lucie Stahl, Hito Steyerl, TELFAR, Christopher Kulendran Thomas, Wu Tsang, Anna Uddenberg, Amalia Ulman, Anne de Vries, Abu Hajar, Halil Altindere, Math Bass, Lizzi Bougatsos & Brian DeGraw, Elysia Crampton, Lizzie Fitch/Ryan Trecartin, Isa Genzken, Juliana Huxtable, Kelela, Nguzunguzu, PATRICIA (Patricia Satterwhite, Jacolby Satterwhite, Nick Weiss), Adrian Piper, Fatima Al Qadiri, Carles Santos, Hito Steyerl, Total Freedom, Amalia Ulman, Antoni Abad, åyr/Rem Koolhaas/Hans Ulrich Obrist, Kathleen Daniel, Cécile B. Evans and Andrew Snyder-Beattie, Oleg Fonaryov and Oleksiy Radynski, Simon & Daniel Fujiwara, GCC, Boris Groys, Rob Horning, Izabella Kaminska and Simon Denny, Chus Martínez, Meredith Meredith, Sean Monahan, New Scenario, Ingo Niermann, Alexandra Pirici, Puppies Puppies, Sean Raspet, Natasha Stagg, Amalia Ulman, Sencer Vardarman, Eduardo Viveiros de Castro and Déborah Danowski in conversation with Michelle Sommer and Daniel Steegmann Mangrané, McKenzie Wark, Will Benedict, Dora Budor, Cao Fei, Roe Ethridge, Hood by Air, Bjarne Melgaard, Simon Dybbroe Møller, Zanele Muholi, Johannes Paul Raether, Torbjørn Rødland, Akeem Smith, Martine Syms, Stewart Uoo, Nina Cristante, Sabine Gottfried, Nik Kosmas, Lesley Moon, Helga Wretman, Frank Benson, Asger Carlsen, DIS, Casey Jane Ellison, Roe Ethridge, Avena Gallagher, Saemundur Thor Helgason, Tilman Hornig, Benjamin Alexander Huseby, Chris Kraus, Bjarne Melgaard, Jason Nocito, Babak Radboy, Sean Raspet, Sabine Reitmaier, Aaron David Ross, Andrew Norman Wilson, Anonymous, Anonymous, Anonymous and others.
2016, English
Softcover, 550 pages, 21 × 28 cm
Published by
Novembre / Lausanne
$46.00 - Out of stock
Huge new issue, almost twice the size of the last!
Novembre 10: Charlotte Day-Reiss, Clément Delépine, Nik Kosmas, Peter Kwang, Tim Steer, Donna Huanca, Jamie Adams, Marques ' Almeida, Anna Uddenberg, Moses Guantlett Cheng, Chanel, Céline, DIS, Chris Kraus, Christian Dior, Vivienne Westwood, Bjarne Melgaard, J.W. Anderson, Dries van Noten, Jeannette Mundt, Jessie Wine, Nick Knight, Orion Martin, Peter Shire, Louisa Gagliardi, Proenza Schouler, and so many more….
Under the candid caption “arts and fashion in Switzerland and the world”, Novembre activates intergenerational discussions, producing international content that explores the critical stakes inherent to the Swiss identity: its neutrality notably fortifies its supposed integrity and inviolability, whilst placing the Confederation in an extremely productive and influential position within the arts on a global level.
Through the organic association of fashion, design and art, Novembre highlights the products which proliferate in schools, studios, galleries, showrooms, institutions, trade shows, fairs, hotels and bank lobbies and living rooms – addressing issues of integration, independence, equality, and exchange.
Novembre is currently published and independently by Florence Tétier (Paris), Florian Joye (Lausanne), and Jeanne-Salomé Rochat (Berlin), who united after their graduation from ECAL University of Arts, Switzerland.
2016, English
Softcover, 272 pages, 22 x 29.3 cm
Published by
Kaleidoscope Press / Milan
$20.00 - Out of stock
Kaleidoscope #27 (Summer 2016) is issue is a key to enter the world of Los Angeles-based artist Sterling Ruby, exclusively playing the double role of subject and guest editor. Conceived as a viral, aggressive takeover of the magazine’s architecture, content and design, this hyper-vertical survey is the result of an intense dialogue with the artist and his studio, comprised of 160+ pages on his exuberant work and vision.
Ruby’s cover portrait is drawn from an extensive series shot by photographer Max Farago at the artist’s massive industrial studio space in LA. Inside, the Sterling Ruby Takeover decodes the artist's grammar through an intimate conversation with artist Piero Golia and newly commissioned writings by Alex Gartenfeld, Donatien Grau, Aram Moshayedi, Ross Simonini, Paul Schimmel and Catherine Taft; while his network of influences is explored through a series of guest features dedicated to his peers, heroes and collaborators, including Huma Bhabha (by Massimiliano Gioni), Cassils (by Francesca Gavin), Mike Davis (by Sterling Ruby), John Divola (by Alexander Shulan), Cyprien Gaillard (by Natalia Valencia Arango), Ron Nagle (by Sterling Ruby), Nancy Rubins (by Sterling Ruby), Raf Simons (by Alessio Ascari) and Melanie Schiff (by Sarah Workneh). All of this content is punctuated by stunning visual contributions especially created by Ruby for the magazine’s pages, comprising an unseen presentation of his Work Wear modeled by the entire studio team.
Born in 1972 on an American air force base in Germany, raised in rural Pennsylvania, trained in Chicago, Ruby moved to LA to finish his education, became Mike Kelley’s teaching assistant and quickly one of the city’s quintessential artists. Now 44, he runs a megastudio with a staff of over twenty under the big black sun. Complex to label in his unapologetic combination of compulsion and strategy, bigness and poetry, handcraft and seriality, darkness and psychedelia, hard and soft, Ruby is one of the most unique and controversial voices on the art scene, working incessantly across the most diverse media and platforms and stretching the limits of visual language. This hybrid editorial experiment coincides with the artist's major show at the Belvedere/Winterpalais in Vienna and participation in the “Made in LA“ biennial at Hammer Museum, Los Angeles.
Running independent from the takeover, the opening section of HIGHLIGHTS and the closing section of REGULARS complete the issue with a rich and varied selection of the best of the summer season and insightful contributions from our columnists and correspondents around the globe.
HIGHLIGHTS features profiles on Sean Raspet (by Franklin Melendez), Kienholz (by Gianni Jetzer), Marguerite Humeau (by Nadim Samman), Eckhaus Latta (by Chloe Wilcox), Sol Calero (by George Vasey), Renaud Jerez (by Tina Kukielski), Christopher Y. Lew (by Julia Trotta), Yngve Holen (by Cristina Travaglini), Home Economics (by Attilia Fattori Franchini), Valerie Keane (by Allison Bulger), Cao Fei (by Xin Wang) and Megan Rooney (by Harry Burke).
In the REGULARS section, “Producers” features Carson Chan in conversation with New York-based collective DIS; in “Futura 89+,” Hans Ulrich Obrist and Simon Castets (with Katherine Dionysius) interview young Portuguese artist Bruno Zhu; Fiona Duncan reflects on the figure of the go-go dancer in contemporary art and culture as part of her “Pro/Creative” column; in “Renaissance Man,” Jeffrey Deitch discusses the collaboration between artist Alex Israel and writer Bret Easton Ellis; Maria Lind's “Centerstage” presents Danish artist Marie Kölbaek-Iversen; Gean Moreno unveils Cuba’s new normal for “Panorama”; in “Pioneers,” Fredi Fischli and Niels Olsen talk to Heimo Zobernig; and lastly, as part of the “What's Next” series, we look forward to the season with collector and curator Tiffany Zabludowicz.
2016, English
Softcover (2 books), 560 pages, 215 x 155 cm
ed. of 1000,
Published by
Many of Them
$62.00 - Out of stock
MANY OF THEM – VOL. IV
A LIMITED EDITION OF 1000 COPIES
Cosmic Wonder, Louis Vuitton, Issey Miyake, Hermès, Saint Laurent, Loewe, Yohji Yamamoto, Irène Silvagni, Limi Feu, Undercover, Dries Van Noten, Lemaire, Chanel, Bernhard Willhelm, Junya Watanabe, Comme Des Garçons, Maurizio Amadei, Alaïa, Paz De La Huerta, Daniela Gregis, Sybilla, Geoffrey B. Small, Eatable Of Many Orders, Sacai, Ply,Ragne Kikas, Steve Mono, Jan-Jan Van Essche, Susan Cianciolo, Koché, Bless, Oriole Cullen, Kaat Debo, Akiko Fukai, Harold Koda, Olivier Saillard, Valerie Steele, Pedro Costa, Jia Zhang-Ke, Amat Escalante, Isaki Lacuesta, Lisandro Alonso, Nathalia Acevedo, Lav Diaz, Moira Lang, Charlotte Gainsbourg, Mia Hansen-Løve, Jonas Mekas, Todd Haynes.
Many of Them is a limited edition publication. Its aim is to offer a space for discussion in which creators can share their perspective about their own field, their languages and the problems they face in their everyday practices. It originally started as a diary in 2008 and it keeps evolving into different formats.