World Food Books

Robert Filliou
The Secret of Permanent Creation

2017, English
Softcover, 320 pages, 24 × 19 cm
Published by Mousse / Milan Editions Lebeer Hossmann / Brussels M HKA / Antwerp

$75.00 - Sold

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Foreword by Anders Kreuger, essay by Irmeline Lebeer, translated transcript of conversation between Robert Filliou and Irmeline Lebeer

“The absolute secret of permanent creation: not deciding, not choosing, not wanting, not owning, aware of self, wide awake. SITTING QUIETLY DOING NOTHING.” — Robert Filliou.

Published to document the recent Filliou retrospective at M HKA, the Museum of Contemporary Art Antwerp, this book centres on the transcript of an extensive conversation between the French artist and the Brussels-based art critic Irmeline Lebeer, recorded on seven cassette tapes in August 1976 in Flayosc in Southern France. This conversation is structured as an abécédaire and touches on a variety of topics to do with Filliou’s art and thinking, from amitié (friendship) to zen. It was supposed to become an extensive monograph but was never published until now.
Robert Filliou: The Secret of Permanent Creation gives today’s reader direct insight into the mind and the practice of this extraordinary artist, whose influence on subsequent generations cannot be overestimated. Now, in the second decade of the twenty-first century, is the time to realise that Robert Filliou was one of the greatest artists of the twentieth century, apart from being a significant playwright and poet. This book helps contemporary readers grasp his significance. It contains many black-and-white illustrations and colour plates of nearly all the 192 works in the exhibition at M HKA.

Designed by Sara De Bondt
Copublished with M HKA, Antwerp, and Editions Lebeer Hossmann, Brussels

File under: Robert Filliou Anders Kreuger Irmeline Lebeer Mousse / Milan Editions Lebeer Hossmann / Brussels M HKA / Antwerp Art Fluxus Drawing Fiction / Poetry Conceptual Art Performance / Dance / Theater Theory / Essay

Quinn Latimer
Like a Woman Essays, Readings, Poems

2017, English
Softcover, 248 pages, 13.6 x 20.5 cm
Published by Sternberg Press / Berlin

$36.00 - In stock -

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Quinn Latimer’s arresting writings find expression in literature and theory as well as contemporary art and its history. Moving from Southern California to central and southern Europe, crossing geographies and genres, her texts record specters and realities of culture, migration, and displacement, compounding the vagaries of rhetoric and poetics with those of personal history and criticism.

Composed in the space between the page and live performance, Latimer’s recent essays and poems collected here examine issues of genealogy and influence, the poverty and privilege of place, architecture’s relationship to language, and feminist economies of writing, reading, and art making. Shifting between written language and live address, between the needs of the internal and the external voice, Like a Woman retrieves the refrain, the litany, and the chorus, exploring their serial ecstasies and political possibilities.

Quinn Latimer is a poet and critic from California. Her writings and readings have been featured widely, including at Chisenhale Gallery, London; REDCAT, Los Angeles; and Qalandiya International, Ramallah/Jerusalem. Her books include Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder, coedited with Adam Szymczyk (Sternberg Press, 2014); Sarah Lucas: Describe This Distance (Mousse Publishing, 2013); Film as a Form of Writing, with Akram Zaatari (WIELS/Motto Books, 2013); and Rumored Animals (Dream Horse Press, 2012).

Latimer is editor in chief of publications for documenta 14.

Design by Sam de Groot

File under: Sarah Lucas Adam Szymczyk Quinn Latimer Sternberg Press / Berlin Art Film / Video Theory / Essay Fiction / Poetry Performance / Dance / Theater

Matter Fictions
edited by Margarida Mendes

2017, English
Softcover, 180 pages, 13.3 x 20 cm
Published by Sternberg Press / Berlin

$36.00 - In stock -

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Contributions by 0(rphan)d(rift>), Ursula Biemann, Ccru, Kodwo Eshun, N. Katherine Hayles, Francis McKee, Margarida Mendes, Jussi Parikka, Mariana Silva, Jennifer Teets, Jason Waite

Matter Fictions addresses fiction as a mode of producing reality as well as the significance of matter—animal, vegetable, mineral, hybrid—beyond binaries. Recounting a partial history of our relation with matter, the eponymous exhibition at Museu Coleção Berardo (May 4–August 21, 2016) explored how the crossover between cosmological narratives, spatial revolutions of concrete poetry, and hypertextual and territorial fictions might impact our understanding of human agency in a time that calls for action on climate change and technocratic policies. This companion reader features contributions from participating artists and like-minded writers that address the scope of this project as it exceeds the frame of art and the exhibition into the realm of nonhuman ecologies, ontologies, and temporalities.

The texts are oriented around the four threads that structured the exhibition. The science-fiction approach to the ethics of code and digital space is addressed in the texts by Kodwo Eshun of the Otolith Group, Ccru (Cybernetic culture resource unit), and N. Katherine Hayles, and the excerpt from 0(rphan)d(rift>)’s 1995 novel Cyberpositive. Contemporary psychogeophysics and the material realities of the digital are explored by Jussi Parikka’s text and printed drawings throughout the book based on Joana Escoval’s sculptures on electromagnetic conduction. The hybridity of contemporary bodies and rituals is contextualized by Margarida Mendes’s essay on agribusiness and GMOs. And the critique of technocratic and extractionist environmental policies is represented by Jason Waite’s text on Fukushima and artist statements by Ursula Biemann and Mariana Silva. The contributions from Jennifer Teets and Francis McKee straddle all four threads—Teets’s through a reflection on the ongoing series at Museu Berardo, The World in Which We Occur, which she organizes with Mendes, and McKee’s through a newly commissioned work of fiction.

Copublished with Museu Coleção Berardo
Design by Sena/Luz

File under: 0(rphan)d(rift>) Ursula Biemann Ccru Kodwo Eshun N. Katherine Hayles Francis McKee Margarida Mendes Jussi Parikka Mariana Silva Jennifer Teets Jason Waite Sternberg Press / Berlin Fiction / Poetry

e-flux journal : Benjamin H. Bratton
Dispute Plan to Prevent Future Luxury Constitution

2015, English
Softcover, 196 pages, 10.8 x 17.8 cm
Published by Sternberg Press / Berlin

$20.00 - In stock -

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With a foreword by Keller Easterling

Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories.

Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.

The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery.

In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler.

Design by Jeff Ramsey

File under: Benjamin H. Bratton Keller Easterling Sternberg Press / Berlin Fiction / Poetry Theory / Essay

Francis Picabia
I am a Beautiful Monster : Poetry, Prose, and Provocation

2012, English
Softcover, 486 pages, 17 x 23 cm
Published by The MIT Press / Massachusetts

$70.00 - In stock -

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Poet, painter, self-described funny guy, idiot, failure, pickpocket, and anti-artist par excellence, Francis Picabia was a defining figure in the Dada movement; indeed, Andre Breton called Picabia one of the only "true" Dadas. Yet very little of Picabia's poetry and prose has been translated into English, and his literary experiments have never been the subject of close critical study. I Am a Beautiful Monster is the first definitive edition in English of Picabia's writings, gathering a sizable array of Picabia's poetry and prose and, most importantly, providing a critical context for it with an extensive introduction and detailed notes by the translator. Picabia's poetry and prose is belligerent, abstract, polemical, radical, and sometimes simply baffling. For too long, Picabia's writings have been presented as raw events, rule-breaking manifestations of inspirational carpe diem. This book reveals them to be something entirely different: maddening in their resistance to meaning, full of outrageous posturing, and hiding a frail, confused, and fitful personality behind egoistic bravura.
I Am a Beautiful Monster provides the texts of of Picabia's significant publications, all presented complete, many of them accompanied by their original illustrations.

File under: Francis Picabia Francis Picabia The MIT Press / Massachusetts Art Dada Fiction / Poetry Painting Surrealism

The Artwork Caught by the Tail : Francis Picabia and Dada in Paris
by George Baker

2010, English
Softcover, 496 pages, 18 x 22 cm
Published by The MIT Press / Massachusetts

$65.00 - In stock -

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The artist Francis Picabia -- notorious dandy, bon vivant, painter, poet, filmmaker, and polemicist -- has emerged as the Dadaist with postmodern appeal, and one of the most enigmatic forces behind the enigma that was Dada.

In this first book in English to focus on Picabia's work in Paris during the Dada years, art historian and critic George Baker reimagines Dada through Picabia's eyes. Such reimagining involves a new account of the readymade -- Marcel Duchamp's anti-art invention, which opened fine art to mass culture and the commodity. But in Picabia's hands, Baker argues, the Dada readymade aimed to reinvent art rather than destroy it. Picabia's readymade opened art not just to the commodity, but to the larger world from which the commodity stems: the fluid sea of capital and money that transforms all objects and experiences in its wake. The book thus tells the story of a set of newly transformed artistic practices, claiming them for art history -- and naming them -- for the first time: Dada Drawing, Dada Painting, Dada Photography, Dada Abstraction, Dada Cinema, Dada Montage. Along the way, Baker describes a series of nearly forgotten objects and events, from the almost lunatic range of the Paris Dada "manifestations" to Picabia's polemical writings; from a lost work by Picabia in the form of a hole (called, suggestively, The Young Girl) to his "painting" Cacodylic Eye, covered in autographs by luminaries ranging from Ezra Pound to Fatty Arbuckle. Baker ends with readymades in prose: a vast interweaving of citations and quotations that converge to create a heated conversation among Picabia, Andre Breton, Tristan Tzara, James Joyce, Friedrich Nietzsche, Jacques Derrida, Gilles Deleuze, and others. Art history has never looked like this before. But then again, Dada has never looked like art history.

George Baker is Assistant Professor of Art History at the University of California, Los Angeles, and an editor at October magazine and October Books. He is the editor of James Coleman (MIT Press) and a frequent contributor to Artforum.

File under: Francis Picabia Man Ray Marcel Duchamp Tristan Tzara George Baker The MIT Press / Massachusetts Art Dada Fiction / Poetry Painting Poetry Surrealism Theory / Essay

REAL LIFE Magazine: Selected Writings and Projects 1979-1994

2007, English
Softcover, 21 x 28 cm, 320 pages
Published by Primary Information / New York

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REAL LIFE Magazine: Selected Writings and Projects 1979-1994 highlights a selection of writings and artists' projects from REAL LIFE magazine, which was originally edited by artist, writer, and curator, Thomas Lawson and writer, Susan Morgan. Published in twenty-three issues from 1979-1994 as an intermittent black and white magazine, REAL LIFE featured artists and art historians writing on art, media and popular culture interspersed with pictorial contributions. The development of the magazine through its 15 year history, traces the influences, development and transitions of artists through the 80s.

The anthology features writings by and about Dara Birnbaum, Eric Bogosian, Rhys Chatham, Mark Dion, Jack Goldstein, Felix Gonzalez-Torres, Kim Gordon, Dan Graham, Thomas Lawson, Louise Lawler, Sherrie Levine, Allan McCollum, John Miller, Dave Muller, Matt Mullican, Adrian Piper, Richard Prince, David Robbins, Ed Ruscha, Cindy Sherman, Laurie Simmons, Michael Smith, John Stezaker, Bernard Tschumi, Jeff Wall, Lawrence Weiner, and James Welling among others.
Table of Contents:
Thomas Lawson and Susan Morgan: Various Histories of REAL LIFE Magazine
Matthew Higgs: REAL LIFE

Susan Morgan: an interview with Robert Moskowitz, 1979
Valentin Tatransky: Collage And The Problem Of Representation: Sherrie Levine's new work, 1979
Grahame Shane: Crime as Function, 1979
Susan Morgan: an interview with Steve Gianakos, 1979
Barbara Kruger: Game Show, 1979
James Welling: Untitled, 1979
Thomas Lawson: Every Picture Tells A Story Don't It? 1979
Thomas Lawson: Fashion Moda, 1980
Richard Prince: Primary Transfers, 1980
Dan Graham: The Destroyed Room of Jeff Wall, 1980
Kim Gordon: Trash Drugs And Male Bonding, 1980
Thomas Lawson: Going Places, 1980
Susan Morgan: Michael Hurson, 1980
Barbara Kruger: Devils With Red Dresses On, 1980
Thomas Lawson: Long Distance Information, 1980
Joseph Bishop: Desperate Character, 1980
Richard Prince: Menthol Pictures, 1980
Laurie Simmons: Sam and Dottie Dance, 1980
Jim Bradley: Radical Genitalia, 1980
Allan McCollum: Matt Mullican's World, 1980
Michael Smith: Mike In... What Should I Do About The Car? 1980
Sherrie Levine: Two Photographs After Walker Evans, 1980
Kim Gordon: Honeymoon Habit, 1980
Post-Modernism: a symposium, 1981
Dan Graham: BOWWOWWOW (the Age of Piracy), 1981
Howard Singerman: The Artist as Adolescent, 1981
Elsa Bulgari: Your Everyday Critic, 1981
Thomas Lawson: Too Good to be True, 1981
Jenny Bolande: Elk Grazed as if Nothing Had Happened, 1981
David Robbins: Notes toward film, 1981
Eric Bogosian: Fascination, 1981
Fulton Ryder: Pissing on Ice, 1981
Joan Wallace and Geralyn Donohue: Edit deAk, 1982
Rex Reason: Democratism, 1982
The Holy Ghost Writers: Condensation and Dish-Placement, 1982-3
Howard Singerman: Paragraphs toward an essay entitled 'Restoration Comedies', 1982-3
John Roberts: Ruins in the Realm of Thought, 1983
Paul McMahon: From The Permanent Collection, 1983
Jo Baer and Bruce Robbins: Beyond the Pale, 1983
Kathi Norklun: Courage, 1983
Tim Rollins: Particles, 1980-1983, 1983-4
Doug Ashford: Kiss of Death, 1983-4
Thomas Lawson: Komar & Melamid, 1983-4
Robin Winters: The Secret Agent: an interview with Jacki Ochs , 1983-4
Robert C. Morgan: a conversation with Lawrence Weiner , 1983-4
Judith Kirshner: A Blinding Light , 1983-4
Rex Reason: Brie Popcorn: an interview with the directors of Nature Morte Gallery, 1983-4
John Miller: Morality and the Poetic, 1984
Susan Morgan: Portraits of the Artists/Composite Drawings, 1984
B.P. Gutfreund: Four Photographs, 1984
Susan Morgan: Each and Every One of You, 1985
Mark Dion: Tales From The Dark Side, 1985
Jeff Wall: Dan Graham's Kammerspiel Parts I and II, 1985
Jana Sterbak: Premeditated: an interview with Ed Ruscha, 1985
Walter Robinson: The Quest For Failure, 1985-6
Derek Boshier: John Dugger, 1985-6
John A.Walker: Unholy Alliance: Chairman Mao, Andy Warhol, and the Saatchis, 1985-6
Kellie Jones: David Hammons, 1986
John Miller: Swiss Family Robbins, 1986
Adrian Piper: An Open Letter to Donald Kuspit, 1987-8
Susan Morgan: when X does not equal Y , 1987-8
Thomas Lawson: Critical Art Ensemble, 1988-9
Christine N. Lea: Beyond Belief, 1988-9
Felix Gonzalez-Torres: Untitled 1988: Detail of a Sculpture (Endless Copies), 1988-9
Thomas Lawson: No Bull, 1990
Allan McCollum: Photo from TV (with Paintings), 1990
Dara Birnbaum: The Wondering Of Context, 1990
James Welling: Corridors, 1989, 1990
Michael Smith and R. Sikoryak: Mike, 1990
Felix Gonzalez-Torres: Untitled, 1990
Judith Barry: Drive-In or Walk-In Museum, 1990
Group Material: AIDS Timeline, 1990
David Robbins: Three Cancelled TV Families, 1990
Louise Lawler: Untitled 1988, 1990
Susan Morgan: Carlos Gutierrez-Solana, 1994
Josef Strau and Stephan Dillemuth: Friesenwall 120, 1994
David A. Muller: Three Day Weekend, 1994
Spencer Finch: Amnesia And Saying Nothing, 1994

File under: Adrian Piper Allan McCollum Andy Warhol Barbara Kruger Critical Art Ensemble Dan Graham Dara Birnbaum David Hammons Ed Ruscha Felix Gonzalez-Torres Group Material Jack Goldstein James Welling Jeff Wall Jo Baer John Miller Josef Strau Judith Barry Kim Gordon Lawrence Weiner Louise Lawler Matt Mullican Rhys Chatham Richard Prince Robin Winters Sherrie Levine Stephan Dillemuth Matthew Higgs Miriam Katzeff Susan Morgan Thomas Lawson Primary Information / New York Art Fiction / Poetry Photography Sculpture / Installation Theory / Essay Group Shows / Collections Painting

F.R. David
Spring 2017 : Inverted Commas

2017, English
Softcover, 240 pages, 12 x 19 cm
Published by KW Institute for Contemporary Art / Berlin Uh Books / Amsterdam

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F.R.DAVID is a typographical journal, edited by Will Holder, dealing with the organisation of reading and writing in contemporary art practises. This 13th issue of F.R.DAVID is edited with Riet Wijnen, and has its origins in her Registry of Pseudonyms, an online database which accounts for who is who and why who is who. ‘Inverted Commas’ follows ‘pseudonym’ through names, naming, bodies, brains, self, author, other, reader, labour.

Includes: Michael Asher, Joan Didion, Harun Farocki, Sven Lütticken, Lucy Lippard, Barbara Guest, A.H. Nijhoff, Will Holder, Pauline Oliveros, and many more.

File under: Harun Farocki Michael Asher Pauline Oliveros Will Holder A.H. Nijhoff Barbara Guest Harun Farocki Joan Didion Sven Lütticken Will Holder Lucy R. Lippard KW Institute for Contemporary Art / Berlin Uh Books / Amsterdam Art Graphic Design / Typography Fiction / Poetry Film / Video Periodicals Poetry Sound / Music Theory / Essay

Florine Stettheimer
Painting Poetry

2017, English
Hardcover, 168 pages, 21 x 24 cm
Published by Yale University Press / New Haven

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A new look at the art of one of the most charming and idiosyncratic personalities of early 20th-century New York Florine Stettheimer (1871-1944) was a New York original: a society lady who hosted an avant-garde salon in her Manhattan home, a bohemian and a flapper, a poet, a theater designer, and above all an influential painter with a sharp satirical wit. Stettheimer collaborated with Gertrude Stein and Virgil Thomson, befriended (and took French lessons from) Marcel Duchamp, and was a member of Alfred Stieglitz and Georgia O'Keeffe's artistic and intellectual circle.

Beautifully illustrated with 150 color images, including the majority of the artist's extant paintings, as well as drawings, theater designs, and ephemera, this volume also highlights Stettheimer's poetry and gives her a long overdue critical reassessment. The essays published here-as well as a roundtable discussion by seven leading contemporary female artists and curator Jens Hoffmann-overturn the traditional perception of Stettheimer as an artist of mere novelties. Her work is linked not only to American modernism and the New York bohemian scene before World War II but also to a range of art practices active today.

Flamboyant and epicurean, she was an astute documenter of New York and parodist of her social milieu; her highly decorative scenes borrowed from Surrealism and contributed to the beginnings of a feminist aesthetic.

File under: Cecily Brown Ella Kruglyanskaya Florine Stettheimer Jamian Juliano-Villani Jutta Koether Katharina Wulff Silke Otto-Knapp Valentina Liernur Florine Stettheimer Georgiana Uhlyarik Jens Hoffmann Painting Poetry Stephen Brown Yale University Press / New Haven Art Drawing Fiction / Poetry Painting Performance / Dance / Theater Poetry

Under the Radar: Underground Zines and Self-Publications 1965–1975

2017, English
Softcover (ring-bound), 368 pages, 24 x 33 cm
1st Ed.,
Published by Spector Books / Leipzig

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The mid-1960s witnessed a boom in underground and self-published works in West Germany. Hectographs, mimeographs and offset printing not only allowed for the production of small, low-cost print runs, but also promoted a unique aesthetic. Using wild mock-ups, these messianic amateurs combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots and comic strips, forging a new, wildly free, sensibility in the process. This book is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the international context in which they emerged – not as an anecdotal history but as an attempt to tap into the aesthetic cosmos of the Do-It-Yourself rebellion. Insomuch, Under the Radar also challenges us to take a new look at the current boom in independent publishing, the risograph aesthetic and more.

An incredible collection and valuable volume for anyone interested in underground publishing history!

File under: Spector Books / Leipzig Anarchism Art Counterculture Graphic Design / Typography Eros Feminism Fiction / Poetry Illustration / Graphic Art Periodicals Sound / Music Theory / Essay

Walking Through Clear Water in a Pool Painted Black
by Cookie Mueller

1990, English
Softcover, 160 pages, 11.5 x 18 cm
Published by Semiotext(e) / Los Angeles The MIT Press / Massachusetts

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Cookie trips through her forty-year odyssey on this planet — from LSD to shopping at the A&P, from birthing Max to shooting Pink Flamingos. The echoes of her passionate commitments will ring in your ears. It is a tragedy to have lost her. Fortunately, along with the memories, she left us this marvellous testament to her intrepid zest for living.

"Cookie Mueller wrote like a lunatic Uncle Remus - spinning little stories from Hell that will make any reader laugh out loud" - John Waters

File under: Cookie Mueller Cookie Mueller Semiotext(e) / Los Angeles The MIT Press / Massachusetts Art Fiction / Poetry

Kathy Acker
Hannibal Lecter, My Father

1991, English
Softcover, 148 pages, 11.4 x 17.8 cm
Published by Semiotext(e) / Los Angeles The MIT Press / Massachusetts

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You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'...

Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer—which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be "not only youth-threatening but also dangerous to adults," and subsequently banned.

Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended—but then, there are worse things in life than being offended. Such as the things that Acker writes about...

File under: Kathy Acker Semiotext(e) / Los Angeles The MIT Press / Massachusetts Fiction / Poetry Out-of-print / Rare Poetry

Eileen Myles
Not Me

1991, English
Softcover, 202 pages, 11.5 x 18 cm
Published by Semiotext(e) / Los Angeles

$30.00 - In stock -

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Listen, I have been educated.
I have learned about Western
Civilization. Do you know
What the message of Western
Civilization is? I am alone.

This breakthrough volume, published in 1991 by the author of Cool For You and Chelsea Girls captures the high points of Myles’ work in New York City during the 1980s. Poet, novelist, lesbian culture hero and one-time presidential candidate, Myles has influenced a whole generation of young queer girl writers and activists. She is one of the most brilliant, incisive, immediate writers living today.

Eileen Myles, named by BUST magazine “the rock star of modern poetry,” is the author of more than twenty books of poetry and prose, including Chelsea Girls, Cool for You, Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The New Fuck You (Semiotext(e), 1995). Myles was head of the writing program at University of California, San Diego, from 2002 to 2007, and she has written extensively on art and writing and the cultural scene. Most recently, she received a fellowship from the Andy Warhol/Creative Capital Foundation.

File under: Eileen Myles Semiotext(e) / Los Angeles Fiction / Poetry Poetry

The New Fuck You
Eileen Myles, Liz Kotz (Ed.)

1995, English
Softcover, 312 pages, 11.5 x 18 cm
Published by Semiotext(e) / Los Angeles

$34.00 - In stock -

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Edited by Eileen Myles and Liz Kotz

Borrowing its name from the notorious ’60s Ed Sanders magazine, Fuck You: A Magazine of the Arts, the editors have figured a way to rehone its countercultural and frictional stance with style and aplomb. A unique and provocative anthology of lesbian writing, guaranteed to soothe the soulful and savage the soulless.

Contributors:

Tanya Barfield, Dodie Bellamy, Adele Bertei, Lisa Beskin, Rebecca Brown, Kelly Cogswell, Dominique Dibbell, Shannon Ebner, Laura Flanders, Eliza Galaher, Marilyn Hacker, Holly Hughes, Lisa Kron, Joan Larkin, Myra Mniewski, Honor Moore, Cynthia Nelson, Madeline Olnek, Nancy Redwine, Julie Regan, Annie Reid, Danine Ricereto, Camille Roy, Sapphire Joan Schenkar, Kathy Lou Schultz, Lucy Sexton, Linda Smukler, Pamela Sneed, Christina Sunley, Carmelita Tropicana, Laurie Weeks, Debra Weinstein, Joe Westmoreland, Millie Wilson, Linda Yablonsky.

Eileen Myles, named by BUST magazine “the rock star of modern poetry,” is the author of more than twenty books of poetry and prose, including Chelsea Girls, Cool for You, Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The New Fuck You (Semiotext(e), 1995). Myles was head of the writing program at University of California, San Diego, from 2002 to 2007, and she has written extensively on art and writing and the cultural scene. Most recently, she received a fellowship from the Andy Warhol/Creative Capital Foundation.

Liz Kotz teaches in the Art History Department at the University of California, Riverside.

File under: Adele Bertei Annie Reid Camille Roy Carmelita Tropicana Christina Sunley Cynthia Nelson Danine Ricereto Debra Weinstein Dodie Bellamy Dominique Dibbell Eliza Galaher Holly Hughes Honor Moore Joan Larkin Joe Westmoreland Julie Regan Kathy Lou Schultz Kelly Cogswell Laura Flanders Laurie Weeks Linda Smukler Linda Yablonsky Lisa Beskin Lisa Kron Liz Kotz Lucy Sexton Madeline Olnek Marilyn Hacker Millie Wilson Myra Mniewski Nancy Redwine Pamela Sneed Rebecca Brown Sapphire Joan Schenkar Shannon Ebner Tanya Barfield Semiotext(e) / Los Angeles Feminism Fiction / Poetry Poetry

Lisa Radford
Aesthetic nonsense makes commonsense, thanks X

2017, English
Hardcover, 336 pages
Published by Surpllus / Melbourne Westspace / Melbourne

$30.00 - In stock -

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For the past twenty years, Lisa Radford has written alongside (and sometimes about) contemporary art and artists in Melbourne. Along the way, her fictocriticism has captured many minor local histories that speak to politics, friendship, popular culture and a myriad of other subjectivities.
Aesthetic nonsense makes commonsense, thanks X brings together a selection of over fifty texts, including catalogue essays for Centre for Style, David Shrigley and Blair Trethowan, alongside other texts previously published in contemporary art journals including Art & Australia, Discipline and un Magazine.
Co-published by Surpllus and West Space, the publication includes contributions from Geoff Lowe & Jacqueline Riva (A Constructed World), Fiona Macdonald and Jarrod Rawlins. Designed and edited by Brad Haylock with editorial assistance by Robert Shumoail-Albazi.

File under: A Constructed World Blair Trethowan Centre for Style David Shrigley Geoff Lowe Jacqueline Riva Lisa Radford A Constructed World Fiona Macdonald Geoff Lowe Jacqueline Riva Jarrod Rawlins Lisa Radford Surpllus / Melbourne Westspace / Melbourne Art Fiction / Poetry Theory / Essay Painting

LIP 1978/79

1978, English
Softcover, 194 pages, 21 x 29 cm
1st edition, Out of print title / used*,
Published by LIP / Melbourne

$50.00 - Sold

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The incredible book-sized 1978-79 edition of Melbourne's great LIP journal. Published out of Carlton between 1976-1984, LIP encapsulated Australian feminist artistic practice of the period, publishing articles and interviews by women on women in film, sound, theatre, painting, photography, poetry, criticism, activism, journalism, publishing, sculpture, design, education, and much more.

In this issue: Art Sense and Sensibility: Women's Art and Feminist Criticism - Janine Burke; Aboriginal Women: Ritual and Culture - Diane Bell interviewed by Lesley Dumbrell; Map of Transition: Performance - Jillian Orr; Jane Sutherland - Frances Lindsay; Sybil Craig - Mary Eagle; Make Your Own Teaset - Mary Newsome; Women's Images of Women - Barbara Hall; In Search of Old Mistresses - Patricia Symons; Women Ceramacists; Olive Bishop interviewed by Julie Ewington; Margaret Dodd Talking with Julie Ewington; Lorrain Jenyns; Wendy Stavrianos interviewed by Pauline Petrus; The Development of a Political View: A Conversation Between Two Women Artists - Jennifer Barwell and Vivienne Binns; Micky Allan interviewed by Suzanne Davies; Photographs -
Jacqueline Mitelman; From the Ground Up - Photographs - Virginia Coventry; Survey of Women's Art Theory Courses and Feminine Sensibility - Janine Burke; The Women's Art Register Extension Project - Bonita Ely; Sisterhood ― For Whom? Jude Adams and Jenny Barber; Posters by Women in the Earthworks Poster Collective; Film - Margaret Fink and Her Brilliant Career - Frida Freiberg; Following My Star - Elsa Chauvel; Monique Schwarz interviewed by Christine Johnston; A Dialogue between Toni Robertson, a Feminist Poster Maker, and Jeni Thornley, a Feminist Film-maker; Nina Claditz interviewed by Annette Blonski; Introducing Helmer Sanders - Frida Freiberg; Reviews: Shopping in Hearbreak Arcade - Meredith Nolte; Me and Daphne - Linda Rubinstein; Feminine Focus at the Festival - Frida Freiberg; Supplement: Australian Women in Music - Australian Women in Music - Terry Radic; Margaret Sutherland - Helen Coles; May Brahe: Composer - Mimi Colligan; Dr. Ruby Davy - Silvia O’Toole; Four Women Composers: Helen Gifford, Ann Boyd, Ann Carr-Boyd and Peggy Glanville-Hicks - Marcia Ruff; Esther Rofe interviewed by Pauline Petrus; Talking with Linda Phillips by Kerry Murphy; Mary Nemet interviewed by Jeanette Fenelon; The Women's Electric Band interviewed by Jeannette Fenelon; Robyn Archer interviewed by Jeannette Fenelon; The Shameless Hussie A.C.R.; Jane Clifton and Celeste Howden interviewed by Jeannette Fenelon; Janie Conway and Marnie Sheehan - Virginia Fraser; Theatre - The Women's Theatre Group: A Selection of Scripts, Interviews and Comments Kerry Dwyer, Jenny Walsh and Suzanne Spunner; Roma: A One Woman Play - Jan Macdonald and the Roma cast; Tongue to Lip - Valerie Kirwan; And Women Must Wait: Savage Sepia - Suzanne Spunner; Dance and Movement - Marilyn Jones interviewed by Roseanne Hull-Brown; Betty Pounder interviewed by Roseanne Hull-Brown; Yum Wing Chun: Never Underestimate the Power of a Woman - Karen Armstrong; Media - An Open Letter - Shere Hite; Feminism and Publishing: Interviews with Women Publishers - Cathy Peake; Two Early Melbourne Journalists - Lurline Stewart; Sydney Women Writers’ Workshop - Anna Couani and Pamela Brown; The Australian Women's Weekly ― The Case of the Bald Cockatoo - Cathy Peake, Maree Conway and Sue Parvaris.

LIP Collective members: Annette Blonski, Janine Burke, Isabel Davies, Suzanne Davies, Lesley Dumbrell, Jeannette Fenelon, Freda Freiberg, Christine Johnston, Elizabeth Owen, Cathy Peake, Meredith Rogers, Suzanne Spunner, Lynne Wilkinson.

Condition: Good-Very Good (light wear) – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Ann Boyd Ann Carr-Boyd Bonita Ely Earthworks Poster Collective Esther Rofe Helen Gifford Jacqueline Mitelman Jeni Thornley Jennifer Barwell Jillian Orr Margaret Dodd Margaret Fink Margaret Sutherland May Brahe Peggy Glanville-Hicks Sybil Craig Toni Robertson Virginia Coventry Vivienne Binns Anna Couani Diane Bell Janine Burke Lesley Dumbrell Mimi Colligan Pamela Brown LIP / Melbourne Art Australian Art Ceramics / Glass Feminism Fiction / Poetry Film / Video Out-of-print / Rare Performance / Dance / Theater Periodicals Photography Sound / Music Theory / Essay

SALE2 No.30
SPECIAL ISSUE

1987, Japanese
Softcover, 168 pages, 13 x 18 cm
1st Edition, Out of print title / Used*,
Published by Fiction Inc. / Tokyo

$80.00 - In stock -

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Issue No.30 of the great SALE2 periodical from Tokyo Japan during the late 1980s and early 1990s.
Published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. Each issue covers different themes and features, heavy on fetishism.
Issue No.30, the "Special Issue" features Hans Bellmer, Leonor Fini, Richard Cerf, Gilles Deleuze, Michel Foucault, Paul Wunderlich, Robert Maplethorpe, Andy Warhol, Man Ray, Lewis Carroll, John Willie, Bernard Montorgueil, Guido Crepax, Van Rod, Carlo, Betty Page, Tealdo, clippings from periodicals such as Amateur Bondage, Bondage Life, Bondage Fantasies, Bizarre Comix, Bizarre Classix, Bizarre Fotos, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.

Condition: Very Good-Fine – All care is taken to provide accurate condition details of used books, photos available on request.

File under: Andy Warhol Bernard Montorgueil Betty Page Carlo Guido Crepax Hans Bellmer John Willie Leonor Fini Lewis Carroll Man Ray Paul Wunderlich Richard Cerf Robert Mapplethorpe Tealdo Van Rod Gilles Deleuze Michel Foucault Fiction Inc. / Tokyo Art Counterculture Eros Fashion Fiction / Poetry Film / Video Objects / Ephemera / A/V Performance / Dance / Theater Periodicals Photography

Jimmie Durham
Waiting To Be Interrupted. Selected Writings 1993 - 2012

2014, English
Softcover, 372 pages, 21 x 15 cm
Published by