World Food Books

Dredging Up the Past: Gertrude 2005–2025

2026, English
Softcover, 592 pages, 24 x 17 cm
Published by Perimeter Editions / Melbourne Gertrude Contemporary / Melbourne

$69.00 - In stock -

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Gertrude is a contemporary visual art centre and studio complex in Naarm Melbourne, dedicated to risk and ambition. Gertrude’s model has influenced how contemporary art is supported and presented in Australia, and demonstrates a sustained institutional support for experimental practice. Co-published by Gertrude and Perimeter Editions, Dredging up the Past indexes its exhibitions from 2005 to 2025, and its studio and exhibiting artists from 1983 to 2025.

Edited by Sharon Flynn, and designed by Narelle Brewer, Dredging up the Past follows on from Gertrude’s previous twenty-year history, A Short Ride in a Fast Machine (2005), edited by Charlotte Day. An exercise in methodical indexing and recording, this 592-page tome covers every exhibition from the last two decades, alongside documentation of programs and projects, colloquial photographs, and creative and critical texts by the likes of James Nguyen, Nat Thomas, Kim Donaldson, and current directors Mark Feary and Tracy Burgess. In addition, a polyphonic text titled ‘Risk Contemporary’ draws on the contributions of former directors, curators, staff, studio artists, and board members to share anecdotes of conceptual risk during their time associated with Gertrude. The book closes with a vast ‘Catalogue of Personnel’ – a nod to the thousands of humans to have contributed to the organisation’s ecosystem from 1983 until 2025.

Dredging up the Past – which takes its title from the Richard Bell exhibition that inaugurated the first full year of programming at Gertrude’s current site in Preston South in 2018 – feels an apt description for the underpinnings of this book. Rather than reducing history to the stories of a few, this is about recording everything possible and affording it equal importance. This is no highlight reel; it is an excavation of each brick in Gertrude’s foundations.

File under: Charlotte Day Alexie Glass-Kantor Max Delany James Nguyen Nat Thomas Kim Donaldson Mark Feary Tracy Burgess Sharon Flynn Perimeter Editions / Melbourne Gertrude Contemporary / Melbourne Group Shows / Collections Australian Art Art Painting Sculpture / Installation Performance / Dance / Theater Curatorial Australian Photography

ZERO
by Otto Piene & Heinz Mack

1973, English
Hardcover (w. dust jacket), 331 pages, 21.5 x 20.5 cm
1st Edition, Out of print title / used / good
Published by The MIT Press / Massachusetts

$75.00 - Out of stock

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First 1973 hardcover edition.

Environmental and Elemental art—large-scale and sky art—kinetic and technological art—random happenings and programmed events—multimedia and light shows: Zero 1, 2, 3 collects in one volume the three publications created by the artists' collaborative, Group Zero, between 1958 and 1961.

Group Zero originated in Dusseldorf, Germany, but quickly became a pan-European force, with mutual exchanges and interacting influences linking an array of artists in Dusseldorf, Paris, Milan, Amsterdam, and elsewhere. This is best indicated by listing some of the artists whose words are displayed and whose works are illustrated in this book: besides Piene and Mack, they include Fontana, Yves Klein, Mavignier, Jean Tinguely, Arman, Pol Bury, Spoerri, Manzoni, Dorazio, Soto, Manfred Kage, and many others.

The book, designed by its originators, makes an artistic statement on its own terms: individual photographs can be viewed at leisure, but because of its dynamic film-like sequences, a rapid thumb-through converts it into a happening in the kinetic mode. In this edition all the text has been rendered into English in addition to being reproduced in the original German; yet the multilingual aspect of the first publication has been retained: those manifestos and artistic credos written in French or Italian are reprinted in their original language as well.

Zero 1 examines the Red Painting—it is a study in the monochromatic. Zero 2 focuses on vibrations and motion. The last and most elaborate of the volumes, Zero 3, exhibits the full range of Group Zero's concerns: it embraces the total environment, the nature-man-technology triad, and the myriads of artistic possibilities that can be realized through the interactions of elements.

The book offers ample testimony that Group Zero was a happening in contemporary art whose impact was far from ephemeral. As Lawrence Alloway writes in his Foreword: "The Zero group was the first artists' collaboration devoted to topics of light and movement, preceding by two years such collectives as Gruppo T (Milan) and the Groupe de Recherche d'Art Visuel (Paris). A general term for these and other groups was The New Tendency, useful initially as a way of indicating a broad community of interests (protechnology, antisubjective). What should be stressed is that The Zero Group, in their response to widespread aesthetic problems, revealed a sophistication and control that other groups in their strictness often missed. Ten years later, Zero has proved to have withstood the test of time."

Ex–library copy. Single filing sticker to DJ spine, library marking to initials, but (NOTE) with stamping that continues across a number of internal pages. Otherwise the book and DJ would be VG with light wear to extremities. Preserved in mylar wrap. The publisher's original torn, cut and burnt pages are all present and as they should be.

File under: Arman Armando Bernard Aubertin Pol Bury Enrico Castellani Gianni Colombo Dadamaino Lucio Fontana Hermann Goepfert Gerhard von Graevenitz Gotthard Graubner Hans Haacke Jan Henderikse Paul van Hoeydock Oskar Holweck Yves Klein Yayoi Kusama Walter Leblanc Adolf Luther Heinz Mack Piero Manzoni Almir Mavignier Christian Megert François Morellet Saboro Murakami Henk Peeters Otto Piene Uli Pohl George Rickey Dieter Roth Hans Salentin Jan Schoonhoven Daniel Spoerri Jean Tinguely Gunther Uecker Jef Verheyen Nanda Vigo herman de vries Jesus Rafael Soto Otto Piene Heinz Mack The MIT Press / Massachusetts Group Shows / Collections Out-of-print / Rare Minimal Art Conceptual Art Nouveau Réalisme / Zero / Kinetic Arte Povera Fluxus

Český informel / Antonín Tomalík

1991, Czech
Softcover (2 volumes in wrap), 266 + 50 pages, 29.7 x 21 cm
1st Edition, Out of print title / used / good
Published by Prague City Galerie / Prague Václav Špála Galerie / Prague

$100.00 - In stock -

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First edition of the only comprehensive book (a 2 volume survey) ever published on Český informel ("Czech Informel"), a radical current of post-war art that emerged in Prague from specific local conditions at the turn of the 1950s and 1960s. The term "Czech Informel" was an afterthought and defined only in the context of this major 1991 exhibition, accompanying symposium and publication. In the 1960s, the term "structural abstraction" was used, which according to Mahulena Nešlehová is inaccurate and misleading, because the term structure refers rather to an order that is internally organized. Informel, a term used from 1945 by the French critic Waldemar-George and later Michel Tapié, on the other hand, works with chance and the projection of spontaneous emotions and represents an "expressive material antipainting". The revolt of about thirty desperate avant-garde artists created a turning point in the history of Czech art, a phenomenon of which had no predecessor in Czechoslovakia. Sharing an emphasis on the aesthetic effect of raw materials and destruction with concurrent post-war European arts, Czech Informel differed in emphasis on its existential basis. The principle of the permanent construction and destruction of the image was a reaction to the severity of the times and an attempt to penetrate to the deeper essence of creation, in which the birth involves at the same time the extinction of the previous and reflects the consciousness of the fragility of human existence itself.

Profusely illustrated in b/w with select colour plates, the first volume traces the painting, sculpture, print and photographic works of the radical current of central Czech Informel artists, including Jan Koblasa, Aleš Veselý, Antonín Tomalík, Zbyšek Sion, Zdeněk Beran, Vladimír Boudník, Čestmír Janošek, Antonín Málek, Jiří Valenta, Miloš Koreček, Emila Medková, Zbyněk Sekal, Čestmír Krátký, Jiří Balcar, Karel Kuklík, Pavla Mautnerová, Jozef Jankovič, Jaroslav Hovadík, Mikuláš Medek, Alois Nožička, and many more.

The second volume is devoted to the life and work of Antonín Tomalík (1939—1968), one of the main artists of the radical Informel. He played a significant and irreplaceable role in the formation of Czech avant-garde and non-conformist art at a time when artists were burdened by an existential crisis as a result of the totalitarian regime. He belonged to a generation of young artists whose skepticism about life found expression in the raw, deliberately anti-aesthetic language of dark material creation, the result of which was an expressively urgent, internally destroyed object. Tomalík died in 1968, the result of an overdose of barbiturates and alcohol.

Texts in Czech by Antonín Dufek, Jiri Valoch, Mahulena Neslehová.

Highly recommended.
Good—VG copy.

File under: Jan Koblasa Aleš Veselý Antonín Tomalík Zbyšek Sion Zdeněk Beran Vladimír Boudník Čestmír Janošek Antonín Málek Jiří Valenta Miloš Koreček Emila Medková Zbyněk Sekal Čestmír Krátký Jiří Balcar Karel Kuklík Pavla Mautnerová Jozef Jankovič Jaroslav Hovadík Mikuláš Medek Alois Nožička Antonín Dufek Jiri Valoch Mahulena Neslehová Prague City Galerie / Prague Václav Špála Galerie / Prague Painting Sculpture / Installation Out-of-print / Rare Group Shows / Collections Arte Informale / Haute Pâte / Tachism

The Field

1968, English
Softcover (French-fold with die-cut), 96 pages, 22 x 30 cm
Out of print title / used / good
Published by NGV (National Gallery of Victoria) / Victoria

$150.00 - In stock -

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Rare first edition of this iconic catalogue produced in 1968 to accompany "The Field", regarded as a landmark exhibition in Australian art history – a radical showcase of 74 abstract and conceptual, colour field, geometric and hard edge artworks. Influenced by the American origins of abstract art, the exhibition opened to much controversy at the NGV in 1968 with its silver foil-covered walls and geometric light fittings, boldly launching the careers of a generation of young Australian artists it was the first the NGV staged in its new Swanston Street galleries.

Handsomely designed with its wrapped, french-flap, die-cut cover, the book includes profiles on each exhibiting artist in the exhibition, including colour and black and white reproductions of all 72 of the works exhibited.

On the occasion of its 50th anniversary the NGV will restage the exhibition as The Field Revisited, opening in May 2018 at The Ian Potter Centre: NGV Australia.

Texts by Elwyn Lynn, Patrick McCaughey, Royston Harpur, and an introduction by Brian Finemore (Curator) and John Stringer (Exhibitions Manager).

Artists included: Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.

G—VG copy with some marks/nicks/knocks to extremities of wrap–around. Die–cut text cover undamaged.

File under: Alan Oldfield Alun Leach-Jones Clement Meadmore Col Jordan Dale Hickey David Aspden Dick Watkins Emanuel Raft Eric Shirley Garry Foulkes Gunter Christmann Harald Noritis Ian Burn James Doolin Janet Dawson John Peart John White Joseph Szabo Mel Ramsden Michael Johnson Michael Kitching Michael Nicholson Nigel Lendon Noel Dunn Normana Wight Paul Partos Peter Booth Robert Jacks Robert Rooney Rollin Schlicht Sydney Ball Tony Bishop Tony Coleing Tony McGillick Trevor Vickers Udo Sellbach Vernon Treweeke Wendy Paramor Ron Robertson-Swann Brian Finemore Elwyn Lynn John Stringer Patrick McCaughey Royston Harpur NGV (National Gallery of Victoria) / Victoria Art Australian Art Out-of-print / Rare Painting Sculpture / Installation Group Shows / Collections

The Field Revisited

2018, English
Softcover (2 volumes w. die-cut covers in plastic jacket), 144 / 96 pages, 32.8 x 24 cm
1st Edition, Out of print title / as new
Published by NGV (National Gallery of Victoria) / Victoria

$100.00 - In stock -

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The fast out-of-print two-volume publication published to accompany 'The Field Revisited' 50th anniversary exhibition at The Ian Potter Centre, NGV Australia, 27 April - 26 August, 2018. Housed in a transparent plastic jacket, the publication includes a complete facsimile of the rare and highly collectable original 1968 'The Field' exhibition publication and a new publication for 'The Field Revisited', which reflects on the importance of this exhibition over the past fifty years through new essays, colour documentation of the exhibited (and related) works and archival photographs of the 1968 exhibit. Designed by Stuart Geddes, with typography by Vincent Chan.

The National Gallery of Victoria’s inaugural exhibition at its new premises on St Kilda Road in 1968 was The Field, the first comprehensive display of colour field painting and abstract sculpture in Australia. Regarded as a landmark exhibition in Australian art history, The Field was a radical presentation of 74 works by 40 artists who practised hard-edge, geometric, colour and flat abstraction, many of which were influenced by American stylistic tendencies of the time. With its silver foil–covered walls and geometric light fittings, The Field opened to much controversy and helped launch the careers of a generation of Australian artists, including Sydney Ball, Peter Booth, Janet Dawson and Robert Jacks. Eighteen of the exhibiting artists were under the age of thirty, with Robert Hunter the youngest at twenty-one years of age.

The Field Revisited recreated The Field exhibition for its fifty-year anniversary. By reassembling as many of the original 74 paintings and sculptures as possible, this restaging re-examined the exhibition’s impact and significance for Australian art history and allow a new generation to experience it for themselves. Because some works included in The Field are known to have been destroyed, the NGV has commissioned a number of artists, including Normana Wight and Col Jordan, to recreate their original works for The Field Revisited.

Artists : Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.

Out-of-print, As New copy.

File under: Sydney Ball Peter Booth Janet Dawson Robert Jacks James Doolin David Aspden Tony Bishop Ian Burn Gunter Christmann Tony Coleing Noel Dunn Garry Foulkes Dale Hickey Michael Johnson Col Jordan Michael Kitching Alun Leach-Jones Nigel Lendon Tony McGillick Clement Meadmore Michael Nicholson Harald Noritis Alan Oldfield Wendy Paramor Paul Partos John Peart Emanuel Raft Melvyn Ramsden R.C. Robertson-Swann Robert Rooney Rollin Schlicht Udo Sellbach Eric Shirley Joseph Szabo Vernon Treweeke Trevor Vickers Dick Watkins John White Normana Wight Stuart Geddes Vincent Chan Janet Dawson Jenny Bell Tony Ellwood Beckett Rozentals NGV (National Gallery of Victoria) / Victoria Australian Art Minimal Art Conceptual Art Sculpture / Installation Group Shows / Collections Art Out-of-print / Rare Painting Theory / Essay

Eros Fantasy: Artists Who Decorate My Secret Room
by Yoshiki Yamamoto

1979, Japanese
Hardcover (w. dust jacket), 236 pages, 20.4 x 20.3 cm
1st Edition, Out of print title / used / very good
Published by Self-published / Kobe City

$90.00 - In stock -

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First and only edition of this stunning privately-issued 1979 Japanese hardcover collection of erotic fantasy art, edited and written by Yoshiki Yamamoto. Upon retiring from the Sanyo Electric Railway Company in 1976, Yamamoto devoted himself to the art that he loved and to complete an intimate book study that traces an important lineage of artists of "eros fantasy", focussing on 16 key artists through profusely illustrated chapters, linking artists of the fin de siècle, symbolism, surrealism, and their descendants. A total labour of love. There is no other book like it. "Artists Who Decorate My Secret Room" features illustrated full chapters on Gustave Moreau, Félicien Rops, Gustav Klimt, Franz von Bayros, Egon Schiele, Paul Delvaux, Hans Bellmer, Felix Labisse, Pierre-Yves Trémois, Leonor Fini, Paul Wunderlich, Ernst Fuchs, Tomi Ungerer, H.R. Giger, Raymond Bertrand, Gilles Rimbault, including profiles, many artworks, portraits and texts by Yamamoto, closing with a chronology of further artists and authors through the centuries.

Good–Very Good some mild foxing to block edges/initials. Good dust jacket with the usual edge wear and tanning of this title, some chipping to spine ends of DJ. Sample images only. Preserved in mylar wrap.

File under: Gustave Moreau Félicien Rops Gustav Klimt Franz von Bayros Egon Schiele Paul Delvaux Hans Bellmer Felix Labisse Pierre-Yves Trémois Leonor Fini Paul Wunderlich Ernst Fuchs Tomi Ungerer H.R. Giger Raymond Bertrand Gilles Rimbault Yoshiki Yamamoto Self-published / Kobe City Eros Out-of-print / Rare Symbolism / Decadence / Fin de siècle Fetishism / BDSM Art Drawing Painting Surrealism Art Brut / Folk / Visionary / Fantastic Weird / Speculative / Science Fiction Ero Guro / Erotic / Grotesque Group Shows / Collections Occult / Esoterica Theory / Essay Illustration / Graphic Art / Bandes Dessinées

Post Human
by Jeffrey Deitch

1992, English
Softcover (french-folds), 144 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by FAE Musee d'Art Contemporaine Pully / Lausanne

$160.00 - In stock -

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First 1992 English edition of the legendary Post Human exhibition catalogue, published on the occasion of the touring exhibition curated by Jeffrey Deitch, June 1992—October 1993. Post Human brought together the work of leading young international artists confronting a new artificial “real” world; a new figuration. The participating artists examine the media’s obsession with the “virtual reality” of the body beautiful through works that reveal the neuroses that plague contemporary society. In Deitch's words, this lavishly designed catalogue "explores the implications of genetic engineering, plastic surgery, mind expansion, and other forms of body alteration, to ask whether our society is developing a new model of the human being. It poses the question of whether our society is creating a new kind of post-human person that replaces previous constructions of the self. Images from the new technological and consumer culture and the new, conceptually oriented figurative art of thirty-six young artists will endeavor to give us a glimpse of the coming post-human world."

Featuring the work of Dennis Adams, Janine Antoni, John M Armleder, Stephan Balkenhol, Matthew Barney, Ashley Bickerton, Taro Chiezo, Clegg & Guttmann, Wim Delvoye, Suzan Etkin, Fischli / Weiss, Slyvie Fleury, Robert Gober, Felix Gonzalez-Torres, Damien Hirst, Martin Honert, Mike Kelley, Karen Kilimnik, Martin Kippenberger, Jeff Koons, George Lappas, Annette Lemieux, Christian Marclay, Paul McCarthy, Yasumasa Morimura, Kodai Nakahara, Cady Noland, Daniel Oates, Pruitt & Early, Charles Ray, Thomas Ruff, Cindy Sherman, Kiki Smith, Pia Stadtbäumer, Meyer Vaisman, Jeff Wall.

"Post Human was virtually a manifesto trumpeting a new art for a new breed of human. As Deitch’s text explained in the fragmented mottos that punctuated the billboard-style graphics of Dan Friedman’s catalogue design, “It is becoming routine for people to try to alter their appearance, their behavior, and their consciousness beyond what was once thought possible.” And we go on to read, “With the embrace of artificiality, Realism as we used to know it may no longer be possible.” The glossy color plates spoke volumes, whether the illustrations came from art or from “life.” The catalogue was to become something of a cult item that triggered the imaginations of many younger artists. Here was a permanent anthology of the “posthumanity” that surrounds us not only in galleries but on television, in magazines, even in real life, where the friendly androids among us chatter on about Botox and face-lifts. In the catalogue pages, one could see, for instance, four photos of Jane Fonda in four completely different but equally synthetic guises; Pat Buchanan being made up by a cosmetician for a TV appearance; computer morphs of once- human faces; before-and-after bellies and buttocks; and dead center, a profile view of Michael Jackson, clearly the sun god of this new solar system, who would later be deified by Jeff Koons.

This pure plastic environment, whether peopled by Ivana Trump or Barbie, set the stage for the artists in the show, whose works played perfectly in this parallel universe that was quickly replacing that old-fashioned thing called Nature. The result was a complete reshuffling of the contemporary-art deck, with an international mix of thirty-six artists (singles and pairs) that embraced Thomas Ruff and Jeff Wall, Clegg & Gutmann and Pruitt/Early, Damien Hirst and Cindy Sherman, Matthew Barney and Yasumasa Morimura, Charles Ray and Martin Kippenberger. A new dynasty had installed itself, and this ruling class demanded fitting ancestry."—Robert Rosenblum, Artforum (October 2004)

"Looked at from the point of view of being difficult cultural issues to a broader public than usual, the project Post Human could not have come about at a better time. (…) Deitch’s central thesis—that the voluntary manipulation of the human body through surgery, cosmetics and exercise, combined with recent technologies allowing us to simulate the experience of reality, have produced a culture in which the body no longer serves as a cohesive, organic reference point—fits well in an age in which pop starts, politicians and even artists themselves seem to delight in changing their physical identities to suit their purposes. No longer the domain of privacy and difference, the body has become a public crossroads where the merging of real and artificial, organic and synthetic, and even good and evil, is taking place right before our very (ahem) eyes."—Dan Cameron, Frieze (September–October 1992)

Very Good copy.

File under: Dennis Adams Janine Antoni John M Armleder Stephan Balkenhol Matthew Barney Ashley Bickerton Taro Chiezo Clegg & Guttmann Wim Delvoye Suzan Etkin Fischli / Weiss Slyvie Fleury Robert Gober Felix Gonzalez-Torres Damien Hirst Martin Honert Mike Kelley Karen Kilimnik Martin Kippenberger Jeff Koons George Lappas Annette Lemieux Christian Marclay Paul McCarthy Yasumasa Morimura Kodai Nakahara Cady Noland Daniel Oates Pruitt & Early Charles Ray Thomas Ruff Cindy Sherman Kiki Smith Pia Stadtbäumer Meyer Vaisman Jeff Wall Fischli & Weiss David Weiss Peter Fischli Peter Fischli & David Weiss Peter Fischli/David Weiss Jeffrey Deitch FAE Musee d'Art Contemporaine Pully / Lausanne Group Shows / Collections Transgressive / Visceral / Abject Sculpture / Installation Photography Conceptual Art Out-of-print / Rare

The Invention of the Neue Wilde
Painting and Subculture around 1980

2019, English / German
Softcover, 436 pages, 17 x 23.5 cm
Published by Walther König / Köln Ludwig Forum / Aachen

$85.00 - In stock -

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The Invention of the Neue Wilde aims to put a new perspective on the phenomena of the so-called ‘Neue Wilde’ (new Fauves), which was a term used in Germany for neo-expressionism: a movement which saw the re-emergence of expressive painting in the late 1970s and 1980s. Its most famous protagonists include Martin Kippenberger, Werner Büttner, Salome and Walter Dahn.

Instead of focusing on the production of paintings by those involved – and a corresponding catalogue of these paintings – it is much more interested in the emergence of the painting boom out of potent interplay between artists, gallerists, collectors and art historians. Here the focus is especially on personal backgrounds and the context in which painters worked.

The argument shows that the artistic practices of the ‘Neuen Wilden’ had little to do with a generalised ‘return’ to panel painting and thus to a traditional concept of art. Painting was in fact embedded in an extended network of artistic production, which was particularly characterised by a destabilisation in the division between high and popular culture as well as by various media, genres and collaborative forms of praxis.

Hitherto neglected photographic and documentary material as well as artists’ posters, records, newspapers, video works and artists’ books testify to the artists’ experimental bent on one hand, their proximity to self-organised, subcultural phenomenon, such as the punk or new wave scenes of the 1980s on the other. On this basis, the much-described ‘return’ to painting can be exposed as a hugely simplified narrative, while sketching out a complex image of the situation around 1980.

Artists: Hans Peter Adamski, Peter Bömmels, Werner Büttner, Luciano Castelli, Walter Dahn, Jiÿí Georg Dokoupil, Rainer Fetting, G. L. Gabriel-Thieler, Anne Jud, Martin Kippenberger, Helmut Middendorf, Christa Näher, Hilka Nordhausen, Markus Oehlen, Brigitta Rohrbach, Salomé, Bettina Semmer, Bettina Sefkow, Claudia Skoda, Rolf von Bergmann, Bernd Zimmer, and others.

Includes texts by Thomas Bayrle, Andreas Beitin, Werner Büttner, Diedrich Diederichsen, Catherine Dossin, Brigitte Franzen, Ramona Heinlein, Christian Höller, Katrin Köpper

Published on the occasion of the exhibition, The Invention of the Neue Wilde: Painting and Subculture around 1980 at Ludwig Forum für Internationale Kunst, Aachen (12 October 2018 –10 March 2019).
English and German text.

File under: Martin Kippenberger Werner Büttner Salome Walter Dahn Hans Peter Adamski Peter Bömmels Luciano Castelli Jiří Georg Dokoupil Rainer Fetting G. L. Gabriel-Thieler Anne Jud Helmut Middendorf Christa Näher Hilka Nordhausen Markus Oehlen Brigitta Rohrbach Bettina Semmer Bettina Sefkow Claudia Skoda Rolf von Bergmann Bernd Zimmer Benjamin Dodenhoff Ramona Heinlein Thomas Bayrle Andreas Beitin Werner Büttner Diedrich Diederichsen Catherine Dossin Brigitte Franzen Christian Höller Katrin Köpper Walther König / Köln Ludwig Forum / Aachen Art Painting Performance / Dance / Theater Sound / Music Group Shows / Collections

Jikken Kōbō (Experimental Workshop)

2013, English / Japanese
Hardcover, 352 pages, 26.5 x 20 cm
1st Edition, Out of print title / used / fine
Published by Yomiuri Shimbun / Tokyo

$140.00 - In stock -

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From establishing one of the earliest frameworks for modern interactive multimedia art or Total Art (Gesaumtkunstwerk) to playing a pioneering role in the development of musique concrète in Japan, the seminal post-war Japanese avant-garde collective Jikken Kōbō (Experimental Workshop) blurred the lines between sonic arts, photography, stage lighting, costume design, poetry and experimental choreography.

Wonderful and comprehensive 2013 hardcover catalogue devoted entirely to the wide scope of Jikken Kōbō (Experimental Workshop), one of the first avant-garde artist collectives active in postwar Japan. Founded in Tokyo in 1951 by a group of composers, visual artists, musicians, choreographers, poets, critics and technicians including Toru Takemitsu, Kazuo Fukushima, Joji Yuasa, Hiroyoshi Suzuki, Keijiro Sato, Takahiro Sonoda, Ririko Hayashi, Hikaru Hayashi and Toshi Ichiyanagi, art critic Shūzō Takiguchi, and many others working in various media. Active between 1951–1958, the group was founded against the backdrop of the Hiroshima and Nagasaki bombs and in a time of post-war austerity. Jikken Kōbō organized its own exhibitions of group members' works, which were influenced by Western avant-garde art and showed a strong interest in new technology. However, they are best known for their collaborative "presentations" (happyōkai 発表会): theatrical or musical performances where each member contributed their individual works to create a multimedia production. Their multi-layered installations embraced sound recording, photography and film, together with artist-designed sets, specially composed music and dance, shattering distinction between mediums. Many of the group’s fourteen members were self-taught, and as a result distanced themselves from the traditional artistic culture in Japan. Co-founder Katsuhiro Yamaguchi described them as Bauhaus without the building.

This profusely illustrated book brings together the works, photographic documentation, costume designs, compositions, publications, writings, and all manner of material relating to the the group for the first time with extensive chronology and catalogue, with all accompanying texts in bi–lingual English and Japanese.

Exhibition ticket stub laid–in.

Very Good–Near Fine copy of this long out–of–print book, with only light wear to boards.

File under: Toru Takemitsu Kazuo Fukushima Joji Yuasa Hiroyoshi Suzuki Keijiro Sato Takahiro Sonoda Ririko Hayashi Hikaru Hayashi Toshi Ichiyanagi Katsuhiro Yamaguchi Shūzō Takiguchi Yomiuri Shimbun / Tokyo Performance / Dance / Theater Out-of-print / Rare Art Painting Illustration / Graphic Art / Bandes Dessinées Textiles Bauhaus Theory / Essay Group Shows / Collections Nouveau Réalisme / Zero / Kinetic

SCAN+ 3: The Fifth Australian International Video Festival

1990, English
Softcover (staple–bound), 56 pages, 30 x 21 cm
1st Edition, Out of print title / used / good
Published by Electronic Media Arts Ltd. / NSW

$20.00 - In stock -

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Catalogue published on the occasion of SCAN+ 3: The Fifth Australian International Video Festival, 1990, November 2–11, directed by Brian Langer and presented by Electronic Media Arts Ltd. Illustrated throughout with essays by David Dunn and Bohuslav Woody Vasulka, an interview with Nam June Paik by Nicholas Zurbrugg, the retrospective of early video art pioneers, Steina and Woody Vasulka, by Roy Durfee, Mckenzie Wark on Peter Callas, Ulrike Rosenbach's installaion, Bill Seaman, New Video from Japan by Carl E. Loeffler, and more, a full Videoteque Directory of international and local works screening in the festival, and much more.

Biran Langer was the Artistic Director of the Australian International Video Festival from 1988 to 1992 and Executive Director of Electronic Media Arts Ltd from 1990 to 1992.

Good copy with light wear to boards/corners.

File under: Ulrike Rosenbach David Dunn Bohuslav Woody Vasulka Peter Callas Steina and Woody Vasulka Warren Burt Nam June Paik McKenzie Wark Nicholas Zurbrugg Bohuslav Woody Vasulka Brian Langer Bill Seaman Carl E. Loeffler Electronic Media Arts Ltd. / NSW Art Australian Art Group Shows / Collections Theory / Essay Film / Video Sculpture / Installation Out-of-print / Rare Sound / Music

MIMA (Modern Image Makers Association Inc.) Film and Video National Tour Catalogue

1986, English
Softcover (staple–bound), 22 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by MIMA / Melbourne

$35.00 - In stock -

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Rare copy of the catalogue published to accompany the touring exhibition that grew from the first year of the Modern Image Makers Association's activities in 1986. MIMA (Modern Image Makers Association Inc.) was Experimenta Media Arts is a Melbourne based group which was was first established in 1986 as the Modern Image Makers Association Inc. (MIMA). In 1986 MIMA received funding from the Australian Film Commission and Film Victoria to run a series of exhibitions and produce a set of compilation tapes of Victorian Film and Video Art titled MIMA Yearbook Videos. This catalogue documents the film programmes, profiles all of the artists, and is accompanied by essays from Australian poet Kris Hemensley and Australian actor John Flaus. Features the work of: → ↑ → (Tsk Tsk Tsk), Virginia Fraser. David Chesworth, James Clayden, Arthur & Corinne Cantrill, Ivor Cantrill, Dirk de Bruyn, John Dunkley–Smith, John Hillcoat, John Hughes / Peter Kennedy, Chris Knowles, Michael Lee, Marie Hoy, Jean–Marc Le Pechoux, Lynsey Martin, Ruben Mow, Nick Ostrovskis, Randelli (Frank Bendinelli & Robert Randall), Peter Tammer, Marcus Bergner, Michael Buckley & Sue McCauley, Warren Burt.

MIMA (Modern Image Makers Association Inc.) was Experimenta Media Arts is a Melbourne based group which was was first established in 1986 as the Modern Image Makers Association Inc. (MIMA)

"I'm constantly moved by that tale told of Moholy-Nagy, how just as Mondrian in his last paintings abandoned the straight-edge and restored to the free-stroke of the hand its right to speak, so a few days before his death Moholy with a free & eager hand engraved lines and signs in the finest of his plexiglass sculptures - thus creating a link between noology and biology. This expressionist (or emotionalist as Moholy-Nagy might have called it) impulse, both egotistical and transcendent of primordial resonance, is an abiding feature of the art of modern times. Originating here is the contradictory enablement proposed in such terms as abstract expressionism and collage, for example, wherein personality and history, respectively, are the products of their apparent antitheses. This fruitful ambiguity is the signature of the most memorable work of the MIMA collection."—Kris Hemensley (from his essay)

Good copy with general light wear to boards/corners.

File under: → ↑ → (Tsk Tsk Tsk) Philip Brophy Maria Kozic Virginia Fraser. David Chesworth James Clayden Arthur & Corinne Cantrill Ivor Cantrill Dirk de Bruyn John Dunkley–Smith John Hillcoat John Hughes / Peter Kennedy Chris Knowles Michael Lee Marie Hoy Jean–Marc Le Pechoux Lynsey Martin Ruben Mow Nick Ostrovskis Randelli (Frank Bendinelli & Robert Randall) Peter Tammer Marcus Bergner Michael Buckley & Sue McCauley Warren Burt Kris Hemensley John Flaus MIMA / Melbourne Australian Art Art Performance / Dance / Theater Film / Video Sound / Music Out-of-print / Rare Group Shows / Collections

Witness To Her Art
Adrian Piper, Cady Noland, Jenny Holzer, Kara Walker, Mona Hatoum, Daniela Rossell, Eau de Cologne ...

2006, English
Softcover, 336 pages, 26 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by Center for Curatorial Studies Bard College / New York

$300.00 - Out of stock

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First edition of this very special, now very rare catalogue published in 2006 on the occasion of the major survey exhibition Witness To Her Art, featuring the work of Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and the seminal magazine Eau de Cologne, published by gallerist Monika Sprüth between 1985 and 1989. Profusely illustrated throughout with artworks by all artists, reproductions of important artist publications, installation views, and many works by other related artists, alongside texts by Adrian Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Monika Sprüth, Rhea Anastas, Michael Brenson, Norton Batkin, Johanna Burton, Aruna D’Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtémoc Medina, Ann Reynolds, Hamza Walker, and many more.

Publisher's blurb:
"This radical new study aims to change the way that some of the most influential artists of the past 40 years are seen—all of them women. Emphasizing questions of autonomy, critical intelligence and artistic intention, "Witness to Her Art" presents works by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and "Eau de Cologne," a magazine published by gallerist Monika Sprüth. The artworks are accompanied by original writings by the artists, contemporaneous criticism and newly commissioned essays by Pamela Franks, Aruna D'Souza, Johanna Burton, David Levi Strauss, Hamza Walker and Cuauhtémoc Medina. The ambitious works presented and interpreted herein invite us to consider the impact of the feminist revolution across generations while rendering obsolete any stigma associated with shows or catalogues limited to women artists. Taking its lead from Conceptualism, feminism, and from its included artists, "Witness to Her Art" reaches for art history's capacity as a medium of world-making."

Highly recommended. Very Good copy with light edge wear/rounding to stiff overlay boards.

File under: Adrian Piper Mona Hatoum Cady Noland Jenny Holzer Kara Walker Daniela Rossell Monika Sprüth Adrian Piper Kara Walker Daniela Rossell Mona Hatoum Cady Noland Jenny Holzer Rhea Anastas Michael Brenson Norton Batkin Johanna Burton Pamela Franks Janet Kraynak David Levi Strauss Ann Reynolds Hamza Walker Aruna D'Souza Cuauhtémoc Medina Center for Curatorial Studies Bard College / New York Group Shows / Collections Curatorial Art Sculpture / Installation Feminism Photography Theory / Essay Conceptual Art

Kein Krieg in meiner Stadt! / No war in my City!
Mailart für den Frieden - Lyrische Collagen von Peter Küstermann (Foreword, Translator

1983, English/German/Spanish
Softcover, 220 pages, 18.6 x 13 cm
1st Edition, Out of print title / used / very good
Published by Peter-Rump-Verlag / Bielefeld Peter-Rump-Verlag

$50.00 - In stock -

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Mailart extraordinaire Peter Küstermann's first book, "No War in my City!", independently published in 1983 in a limited edition to accompany a global networked exhibition of Mail–Art by 430 contributing artists, edited by Peter Rump, with foreword by Küstermann, introducing the phenomenon of Mail Art, self–translated into German/English/Spanish. Profusely illustrated in b/w throughout with all of the border breaking artworks spanning the entire globe, sent through the post. A detailed list of all the artists and captions to accompany the artworks are included.

"This "art by mail" is a serious pleasure, various and tongue-in-cheek. It is the duty-free link in an international net of artists and laymen that extends as far as a letter can reach and is continuously growing.
Mail Art gets manifested in exhibitions, catalogues, papers and is becoming more and more popular beyond its traditional homes in Italy, Belgium and the U.S.

Mail Art represents not only a non-commercial El Dorado for literates, thinkers, printers, gluers, painters, protesters, cartoonists from Iceland to Argentina, but it also creates worldwide contacts and helps to better understand each other.

[...]

WHY "MAIL ART FOR PEACE"?
Mail Artists are crazy people - and choose the craziest themes. But they are also very concerned, and they watch the problems in the world around us. Considering the worldwide threat against us all by war and the arms race, mail art seemed to me to be the ideal medium for an international call for peace - from the whole world to the whole world, organized as a travelling exhibition.

"No war in my town!" ... and not in yours, and in nobody else's town! For we are all addressed."
—from the introduction

Peter Küstermann (b. Hagen, Westphalia, 1950) has been a mail artist since 1983 and is also an author, painter, musician, filmmaker, art critic, alternative cultural manager, and gallery owner at the BÜZ cultural center in Minden, located in a former church. Together with Angela Pähler, he holds the Guinness World Record for traveling art mail carriers under the artist name Angela & Peter Netmail.

VG copy with inscription from Angela and Peter to Australian sound composer Warren Burt.

File under: Peter Küstermann Peter-Rump-Verlag / Bielefeld Peter-Rump-Verlag Collage / Mail Art / Xerox Art Protest / Revolt Art Out-of-print / Rare Group Shows / Collections Dada Objects / Ephemera / A/V Concrete Poetry

Malerei und Photographie im Dialog / Painting and photography in dialogue
Von 1840 bis Heute / From 1840 to The Present

1979, German
Softcover, 419 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by Kunsthaus Zürich / Zürich Bentelli Verlag / Bern

$60.00 - In stock -

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Wonderful over-sized catalogue published on the occasion of the exhibition Malerei und Photographie im Dialog / Painting and Photography in Dialogue, Kunsthaus Zürich, May 13 to July 24, 1977. Profusely illustrated, this heavy volume documents this historical survey of the relationship between photography and painting from 1840 to the present (late 1970s); with a full catalogue of works, artists' biographies, bibliography. Edited by Erika Billeter with texts throughout by art historian Josef A. Schmoll. Includes the work of Edvard Munch, Urs Lüthi, Wols, Vito Acconci, John Baldessari, Eadweard Muybridge, Hannah Höch, Raoul Hausmann, Hans-Peter Feldmann, Oskar Schlemmer, Francis Bacon, Hilla and Bernd Becher, Les Levine, Constant Puyo, Clarence Hudson White, Jan Groover, Jochen Gerz, Duane Michels, Mario Merz, Giulio Paolini, Ruth Francken, Theo Von Doesburg, Kurt Schwitters, Ferdinand Hodler, Herbert Bayer, Marcel Duchamp, Gertrude Käsebier, Edward Steichen, Alighiero Boetti, Klaus Rinke, Giuseppe Penone, Pierre Bonnard, Paul Klee, Gerhard Richter, Monika Baumgartl, Yves Klein, Wolf Vostell, Heinrich Kühn, Georges Mathieu, Peter Roehr, Sarkis, Jiro Takamatsu, Michael Heizer, Umberto Boccioni, Hans Bellmer, William Wegman, Raoul Ubac, Margrit Jäggli, André Kertész, Jiri Kolar, Kasimir Malevich, Henri de Toulouse-Lautrec, Dennis Oppenheim, Christian Boltanski, Dan Graham, Jan Dibbets, Jürgen Klauke, Bruce Nauman, Jean Tinguely, Vettor Pisani, Max Ernst, Joseph Cornell, Allen Kaprow, Arnulf Rainer, Mieczyslaw Berman, Jim Dine, George Brecht, Man Ray, Paul Wunderlich, Karin Székessy, Tom Wesselmann, Chuck Close, Eugène Delacroix, Duane Hanson, Heinrich Zille, Félix Vallotton, Carl Durheim, Gilbert and George, Joseph Beuys, Thomas Eakins, Robert Rauschenberg, Édouard Vuillard, Carlo Carrà, Alphonse Mucha, Les Krims, Albert Steiner, Giorgio de Chirico, Keiji Uematsu, Ernst Ludwig Kirchner, Heinrich Zille, Franco Fontana, Richard Long, Ben Shahn, Edmund Kesting, László Moholy-Nagy, Anton Stankowski, Paul Nash, Rene Magritte, Paul T. Frankl, John Heartfield, El Lissitzky, Georges Hugnet, Gordon Matta-Clark....

Very Good copy, crease to top cover corner.

File under: Edvard Munch Urs Lüthi Wols Vito Acconci Eadweard Muybridge Hannah Höch Raoul Hausmann Hans-Peter Feldmann Oskar Schlemmer Francis Bacon Hilla and Bernd Becher Les Levine Constant Puyo Clarence Hudson White Jan Groover Jochen Gerz Duane Michels Mario Merz Giulio Paolini Ruth Francken Theo Von Doesburg Kurt Schwitters Ferdinand Hodler Herbert Bayer Marcel Duchamp Gertrude Käsebier Edward Steichen Alighiero Boetti Klaus Rinke Giuseppe Penone Pierre Bonnard Paul Klee Gerhard Richter Monika Baumgartl Yves Klein Wolf Vostell Heinrich Kühn Georges Mathieu Peter Roehr Sarkis Jiro Takamatsu Michael Heizer Umberto Boccioni Hans Bellmer William Wegman Raoul Ubac Margrit Jäggli André Kertész Jiri Kolar Kasimir Malevich Henri de Toulouse-Lautrec Dennis Oppenheim Christian Boltanski Dan Graham Jan Dibbets Jürgen Klauke Bruce Nauman Jean Tinguely Vettor Pisani Max Ernst Joseph Cornell Allen Kaprow Arnulf Rainer Mieczyslaw Berman Jim Dine George Brecht Man Ray Paul Wunderlich Karin Székessy Eugène Delacroix Félix Vallotton Tom Wesselmann Chuck Close Duane Hanson Joseph Beuys Thomas Eakins Robert Rauschenberg Édouard Vuillard Carlo Carrà Alphonse Mucha Les Krims Albert Steiner Giorgio de Chirico Keiji Uematsu Ernst Ludwig Kirchner Heinrich Zille Franco Fontana Richard Long Ben Shahn Edmund Kesting László Moholy-Nagy Anton Stankowski Paul Nash Rene Magritte Paul T. Frankl John Heartfield El Lissitzky Georges Hugnet Gordon Matta-Clark John Baldessari Erika Billeter Josef A. Schmoll. Kunsthaus Zürich / Zürich Bentelli Verlag / Bern Photography Art Painting Sculpture / Installation Theory / Essay Out-of-print / Rare Group Shows / Collections Surrealism Dada Conceptual Art

Artistry of the Mentally Ill: A Contribution to the Psychology and Psychopathology of Configuration
by Hans Prinzhorn

1972 / 2019, English
Softcover, 336 pages, 28 x 22 cm
Published by Martino Fine Books / Connecticut

$95.00 - In stock -

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2019 Reprint of 1972 English Language Edition. Full facsimile of the original edition, not reproduced with Optical Recognition software. Containing 187 Illustrations, some of which are in color. Between 1919 and 1921, circulars were sent to psychiatric institutions in German speaking countries by Hans Prinzhorn and Karl Willmanns, then Head of the Psychiatric University Hospital. The artistic works of patients they asked for were destined for the creation of a museum of psychopathological art.

In 1922, Prinzhorn published his richly illustrated Artistry of the Mentally Ill [in German] based on the collection. Received enthusiastically by the art scene of his time, it immediately became "the Bible of the Surrealists". The book was edited many times and translated into various languages. To this day, it remains a classic. It launched the field of psychiatric art. It was the first attempt to analyze the drawings of the mentally ill not merely psychologically, but also aesthetically. Prinzhorn presents the works of ten "schizophrenic masters", now housed in the Prinzhorn Collection at the University Hospital Heidelberg, with in-depth aesthetic analysis of each and also full-color reproductions of their work. This is the first and only English translation.

File under: Eric Von Brockdorff James L. Foy Hans Prinzhorn Martino Fine Books / Connecticut Art Brut / Folk / Visionary / Fantastic Art Painting Drawing Surrealism Group Shows / Collections Theory / Essay

A Secret Service: Art, Compulsion, Concealment

2006, English
Softcover, 118 pages, 23.5 x 16.5 cm
1st Edition, Out of print title / used / very good
Published by Hayward Gallery Publishing / London

$25.00 - In stock -

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Published in 2006 on the occasion of this Hayward Gallery touring group exhibition, 'A Secret Service: Art, Compulsion, Concealment' explores the work of fifteen international artists and groups whose practices centre on the creation of secret worlds or the exposure of hidden facts and images. Key figures of Modern art, established and emerging contemporary artists and 'outsiders' together address numerous aspects of secrecy: magic, alchemy, sexuality, dreams, religion, political conspiracy, assumed identity and the covert workings of the State. Essays by Richard Grayson, Clare Carolin, and Roger Cardinal, accompany biographies and lavish, full-colour galleries of works by all featured artists: Sophie Calle, Roberto Cuoghi, Henry Darger, Gedewon, Susan Hiller, Tehching Hsieh, Kataryzna Józefowicz, Joachim Koester & Adrian Dannatt, Paul Étienne Lincoln, Mark Lombardi, Mike Nelson, Kurt Schwitters, The Speculative Archive, Jeffrey Vallance, Oskar Voll.

Very Good copy with light wear to covers.

File under: Sophie Calle Roberto Cuoghi Henry Darger Gedewon Susan Hiller Tehching Hsieh Kataryzna Józefowicz Joachim Koester & Adrian Dannatt Paul Étienne Lincoln Mark Lombardi Mike Nelson Kurt Schwitters The Speculative Archive Jeffrey Vallance Oskar Voll Richard Grayson Clare Carolin Roger Cardinal Hayward Gallery Publishing / London Out-of-print / Rare Art Brut / Folk / Visionary / Fantastic Socialism / Communism / Capitalism Group Shows / Collections Sculpture / Installation Drawing Painting Film / Video Photography Art

New York: 1962-1964
Edited by Germano Celant

2022, English
Softcover, 344 pages, 26.8 x 35.5 cm
Published by Skira / Milan

$110.00 $70.00 - In stock -

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Charting the three momentous years in which New York became the global capital of art.

The radical cultural transformations that occurred in New York in the three years between January 1962 and December 1964 ramified across the world. In addition to a whole host of creative innovations across disciplines, the period also saw a shift in the center of artistic gravity from Europe to the United States and the rise of a new leadership in the arts—curators, gallerists and other impresarios.

Modeled on the scale and format of Life magazine (one of the most widely read publications of the era), this lavishly illustrated oversized paperback traces a detailed itinerary of artists and curators, experimental exhibitions and museums, as well as historical and political events that transformed society during this explosive moment. From the New Realists exhibition at Sidney Janis Gallery in 1962 to Robert Rauschenberg's unexpected win of the International Grand Prize in Painting at the 1964 Venice Biennale, every groundbreaking event from this incredible three-year period is documented.

Organized chronologically, the book is teeming with images of artworks and archival photographs, and artist interviews conducted by the late great curator Germano Celant.

Artists include: Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson and Andy Warhol.

Conceived by Germano Celant. Edited with text by Sam Sackeroff, Lerman-Neubauer Associate Curator at the Jewish Museum. Preface by Claudia Gould, Helen Goldsmith Menschel Director at the Jewish Museum. Introduction by Michael Rock. Interviews by Germano Celant with Christo and Jim Dine. Text by Claudia Gould, Michael Rock, Sam Sackeroff, Emily Bauman, Ninotchka D. Bennahum, Jennifer G. Buonocore-Nedrelow, Olivia Casa, Laura Conconi, J. English Cook, Maria Corti, Michaëla de Lacaze Mohrmann, Joshua B. Guild, Liz Hirsch, Hiroko Ikegami, Susan Murray, Kristina Parsons, Benjamin Serby, Jennifer Sichel, Robert Slifkin.

File under: Diane Arbus Lee Bontecou Chryssa Merce Cunningham Jim Dine Melvin Edwards Dan Flavin Lee Friedlander Nancy Grossman Jasper Johns Donald Judd Ellsworth Kelly Yayoi Kusama Norman Lewis Roy Lichtenstein Marisol Agnes Martin Louise Nevelson Isamu Noguchi Claes Oldenburg Yvonne Rainer Robert Rauschenberg Faith Ringgold Larry Rivers James Rosenquist Miriam Schapiro Carolee Schneemann George Segal Jack Smith Harold Stevenson Marjorie Strider Mark di Suvero Bob Thompson Andy Warhol Germano Celant Sam Sackeroff Lerman-Neubauer Claudia Gould Helen Goldsmith Menschel Michael Rock Emily Bauman Ninotchka D. Bennahum Jennifer G. Buonocore-Nedrelow Olivia Casa Laura Conconi J. English Cook Maria Corti Michaëla de Lacaze Mohrmann Joshua B. Guild Liz Hirsch Hiroko Ikegami Susan Murray Kristina Parsons Benjamin Serby Jennifer Sichel Robert Slifkin Skira / Milan Sculpture / Installation Painting Group Shows / Collections Theory / Essay Conceptual Art Minimal Art Arte Povera SALE

On Line: Drawing Through the Twentieth Century
by Cornelia H. Butler and Catherine de Zegher

2011, English
Hardcover, 228 pages, 23.3 x 27 cm
1st Edition, Out of print title / used / very good
Published by MoMA / New York

$100.00 $80.00 - In stock -

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First edition of long out-of-print important catalogue published to accompany the exhibition On Line: Drawing Through the Twentieth Century, The Museum of Modern Art, New York, 21 Nov. 2010—7 Feb. 2011. On Line: Drawing through the Twentieth Century explores a radical transformation of drawing that began over a century ago and continues as a vital impulse in art today. In a revolutionary departure from traditional ideas of drawing, and from the reliance on paper as the medium's fundamental support, artists have pushed the line of drawing into real space, expanding its relationship to gesture and form and invigorating its links with painting and sculpture, photography and film, and, particularly notably, dance and performance. Through works by over 100 artists, and through essays by Cornelia Butler and Catherine de Zegher that illuminate both broad themes and individual practices, On Line presents a groundbreaking history of an art form. The great, recognized art movements, from Cubism and Futurism at the beginning of the twentieth century through Abstract Expressionism, Neo-Concretism, arte povera, Conceptualism, and many other approaches up to the diverse present, are shown from a new perspective, and are joined by a host of less familiar artworks that properly claim a place in this differently defined field. The exhibition and catalogue includes works by a wide range of artists, both familiar and relatively unknown, from different eras of the past century and from many nations, including Aleksandr Rodchenko, Alexander Calder, Karel Malich, Eva Hesse, Anna Maria Maiolino, Richard Tuttle, Mona Hatoum, and Monika Grzymala.

Very Good / As New copy.

File under: Aleksandr Rodchenko Alexander Calder Karel Malich Eva Hesse Anna Maria Maiolino Richard Tuttle Mona Hatoum Monika Grzymala Catherine de Zegher Cornelia H. Butler MoMA / New York Drawing Sculpture / Installation Conceptual Art Group Shows / Collections Theory / Essay Out-of-print / Rare SALE

Mike Kelley - Peter Fischli, David Weiss

2000, English / German
Hardcover, 136 pages, 24.5 x 17 cm
1st Edition, Out of print title / used / very good
Published by Sammlung Goetz / Münich

$65.00 - Out of stock

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First edition hardcover catalogue published on the occasion of the Mike Kelley - Peter Fischli, David Weiss at Sammlung Goetz, June 13 to November 4, 2000. This volume considers the work of Mike Kelley alongside the collaborations of Peter Fischli and David Weiss. Kelley's works are firmly anchored in an ironic, detached attitude towards his Irish Catholic upbringing; he makes use of the pictorial language of specific subcultures and the aesthetics of ‘low culture,’ to probe such concerns as the representation of childhood and the social construction of sexual behavior and cultural identification. Peter Fischli and David Weiss have been making art together since 1979, addressing various theoretical and philosophical explanations of the world with their subtle and humorous manipulations of common objects. The work of the American Kelley and the Swiss Fischli and Weiss resonate with each other in curious ways, most significantly in their exploration of everyday consciousness and ‘low' materials. This publication documents the work of Peter Fischli and David Weiss in the Goetz Collection during a recent exhibition, along with interviews, essays and two texts by Kelley himself. Profusely illustrated throughout with essay contributions by Bice Curiger, Patrick Frey, Boris Groys, and Daniel Kothenschulte in bi-lingual English and German.

Very Good copy.

File under: Mike Kelley David Weiss Fischli & Weiss Fischli / Weiss Peter Fischli & David Weiss Peter Fischli/David Weiss Peter Fischli Bice Curiger Patrick Frey Boris Groys Mike Kelley Daniel Kothenschulte Sammlung Goetz / Münich Art Sculpture / Installation Painting Group Shows / Collections Curatorial Out-of-print / Rare Drawing Performance / Dance / Theater

Erotische Kunst im 20. Jahrhundert
Edited by Phyllis & Eberhard Kronhausen

1972, German
Softcover, 96 pages, 28 x 205 cm
1st Edition, Out of print title / used / good
Published by Heyne Verlag / Münich

$35.00 - Out of stock

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Wonderful 1972 German book of erotic art selected by Phyllis and Dr. Eberhard Kronhausen, rightly considered international experts in the field. "Their exhibition "Erotic Art," which has been shown in many countries around the world, formed the basis for this illustrated volume. Because this exhibition included loans from museums and galleries, as well as works from the Kronhausen couple's collection and other private collections, it was possible to present images that had previously been inaccessible to the public. In selecting works for this volume, care was taken, on the one hand, to depict these unknown works, and, on the other, to provide a reliable overview of the erotic work of the leading artists (painting, graphic art, and sculpture) of our century. Thus, this book is a fortunate exception; it is a precious document, but also a demonstration of the sexual and cultural revolution of our century."

Features the work of Franz von Bayros, Hans Bellmer, Marc Chagall, Lovis Corinth, Salvador Dali, Paul Delvaux, Otto Dix, J. Dubuffet, Max Ernst, Ernst Fuchs, Willi Geiger, George Grosz, Horst Janssen, Allen Jones, Gustav Klimt, Felix Labisse, Jan Lebenstein, Edward Munch, Claes Oldenburg, Pablo Picasso, Herbert Rauschenberg, George Segal, Max Walter Swanberg, Tomi Ungerer, Andy Warhol, Tom Wesselmann.

Good—VG copy with some laminate seperation to cover extremities and slight corner bump.

File under: Franz von Bayros Hans Bellmer Marc Chagall Lovis Corinth Salvador Dali Paul Delvaux Otto Dix J. Dubuffet Max Ernst Ernst Fuchs Willi Geiger George Grosz Horst Janssen Allen Jones Gustav Klimt Felix Labisse Jan Lebenstein Edward Munch Claes Oldenburg Pablo Picasso Herbert Rauschenberg George Segal Max Walter Swanberg Tomi Ungerer Andy Warhol Tom Wesselmann Phyllis & Eberhard Kronhausen Heyne Verlag / Münich Eros Out-of-print / Rare Illustration / Graphic Art / Bandes Dessinées Art Brut / Folk / Visionary / Fantastic Art Surrealism Pop Art Collage / Mail Art / Xerox Art Dada Drawing Group Shows / Collections Symbolism / Decadence / Fin de siècle Painting LGBTQ+ Fetishism / BDSM

Raum Zeit Stille / Space Time Silence
Edited by Wulf Herzogenrath

1985, German
Hardcover, 184 pages, 27.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by Kölnischer Kunstverein / Köln

$40.00 - In stock -

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Lovely 1985 hardcover catalogue published on the occasion of the exhibition of the same name at the Kölnischer Kunstverein, March 23—June 2, 1985, curated by German art historian and curator Wulf Herzogenrath, featuring Josef Albers, Joseph Beuys, John Cage, Carl Gustav Carus, Marcel Duchamp, Jannis Kounellis, René Magritte, Kasimir Malevich, La Monte Young / Marian Zazeela, Barnett Newman, Nam June Paik, Arnulf Rainer, Odilon Redon, Mark Rothko, Reiner Ruthenbeck, and Georges Seurat. Heavily illustrated in colour and b/w with accompanying texts in German.

Good copy with some rubbing/flaking to silkscreened carbon black hardcovers, otherwise Very Good throughout. Previous owner's name to title page (that of Melbourne artist Bernhard Sachs).

File under: Josef Albers Joseph Beuys John Cage Carl Gustav Carus Marcel Duchamp Jannis Kounellis René Magritte Kasimir Malevich La Monte Young / Marian Zazeela Barnett Newman Nam June Paik Arnulf Rainer Odilon Redon Mark Rothko Reiner Ruthenbeck Georges Seurat Wulf Herzogenrath Kölnischer Kunstverein / Köln Group Shows / Collections Curatorial Out-of-print / Rare Arte Povera Performance / Dance / Theater Conceptual Art Minimal Art Painting Sculpture / Installation Art Sound / Music Fluxus Symbolism / Decadence / Fin de siècle Surrealism

The Readymade Boomerang: Certain Relations in 20th Century Art
The 8th Biennale of Sydney 1990

1990, English
Softcover (w. dust jacket), 512 pages, 29.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by Biennale of Sydney / Sydney

$100.00 - In stock -

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First edition of the incredible (huge) catalogue published to accompany the 8th Biennale of Sydney 1990 "The Readymade Boomerang: Certain Relations in 20th Century Art", held 11 April-3 June 1990 in Sydney across various venues. The eighth Biennale began from ‘a trio of Dada originators’: Marcel Duchamp, Man Ray and Francis Picabia. A large number of artists across generations joined these key figures in Artistic Director René Block’s exploration of the ‘readymade’ in twentieth-century art, which aimed to highlight ‘its invention and pure use by Duchamp, to its resurgence in Nouveau Realism, Pop Art, and Fluxus of the 60s, all the way to new versions by young contemporary artists’. Pop, fluxus and conceptual artists such as Andy Warhol, Richard Hamilton, Marcel Broodthaers, Joseph Beuys, John Cage, Alison Knowles, César, George Brecht, Nam Jun Paik and Piero Manzoni were shown alongside Rosemarie Trockel, John Nixon, Ian Burn, Mel Ramsden, Janet Burchill, Peter Tyndall, Robert Rooney, Rosalie Gascoigne, Cindy Sherman, Bruce Nauman, Hans Haacke, Rebecca Horn, Sophie Calle, Jeff Koons, Allan Kaprow, Jenny Holzer, Robert Gober, Jill Scott, Bill Culbert, Stanley Brouwn, Peter Cripps, Terry Fox, Ian Hamilton Finlay, Fischli & Weiss, KP Brehmer, Sigmar Polke, Dieter Rot, Hanne Darboven, Robert MacPherson, Jackie Redgate, Ed Ruscha, Barbara Bloom, Oyvind Fahlstrom, amongst so many others. The industrial Bond Store at Millers Point featured site-specific works by artists such as Olaf Metzel and Simone Mangos, and several works were created on-site in Sydney, amplifying Block’s notion of the Biennale as a ‘workshop’. A comprehensive satellite program of music, performance, lectures, symposia, workshops and exhibitions at various Sydney venues complemented the exhibition, with Carles Santos’ piano recital on a barge in Sydney Harbour a highlight. Five satellite exhibitions included On Kawara, Joseph Beuys, Alain Fleischer, Fluxus and Broken Record, which featured artist’s experimentations with audio recordings, vinyl and album artwork – from John Cage’s 33 1/3 composition for 12 record players to Milan Knížák’s record-collages.

An incredible Sydney biennale, captured here across over 500 pages conceived and realised by René Block and Jennifer Cook - profusely illustrated with examples of all artists works and accompanying texts throughout by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg, Dick Higgins, René Block and Jennifer Cook. Very Good copy with only general wear/ageing. Bright and clean, includes tanned original dust jacket now preserved under plastic wrap.

Having represented Beuys, Richter and Polke, German gallery owner, art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde.

Very Good copy with original dust jacket. Common tanning to dust jacket spine, now preserved under mylar wrap.

File under: Marcel Duchamp Man Ray Francis Picabia Andy Warhol Richard Hamilton Marcel Broodthaers Joseph Beuys John Cage Alison Knowles César George Brecht Bruce Nauman Hans Haacke Rebecca Horn Sophie Calle Jeff Koons Rosemarie Trockel John Nixon Ian Burn Janet Burchill Peter Tyndall Robert Rooney Allan Kaprow Jenny Holzer Robert Gober Jill Scott Stanley Brouwn Peter Cripps Terry Fox Ian Hamilton Finlay Fischli & Weiss Sigmar Polke Dieter Rot Hanne Darboven Robert MacPherson Ed Ruscha Barbara Bloom Carles Santos Milan Knížák On Kawara Alain Fleischer Öyvind Fahlström K. P. Brehmer Jacky Redgate Nam June Paik Cindy Sherman Piero Manzoni Rosalie Gascoigne Arman Olaf Metzel Shigeko Kubota Allan McCollum Panamarenko Stephen Prina Markus Raetz Edward Ruscha Reiner Ruthenbeck Sarkis Michael Snow Ken Unsworth Ben Vautier Robert Watts Lawrence Weiner David Weiss Emmett Williams Raymond Hains Bill Henson Tony Cragg Stan Douglas Christian Boltanski Dale Frank Jennifer Bolande Bill Culbert Zvi Goldstein Mel Ramsden Anne Zahalka George Maciunas Richard Dunn Milan Knizak Rainer Ruthenbeck Ger van Elk Derek Kreckler Dennis Adams Mimmo Rotella Rémy Zaugg Yoshi Wada Arthur Køpcke Stuart Sherman Henning Christiansen René Block Jennifer Cook Lynne Cooke Bernice Murphy Anne Marie Freybourg Dick Higgins Biennale of Sydney / Sydney Art Group Shows / Collections Out-of-print / Rare Australian Art Conceptual Art Fluxus Feminism Film / Video Minimal Art Performance / Dance / Theater Painting Photography Sculpture / Installation Sound / Music Surrealism Poetry Dada Curatorial Arte Povera Pop Art Nouveau Réalisme / Zero / Kinetic

Keeping Things Together: 50 Years of the Women’s Art Register

2025, English
Softcover, 248 pages, 30 x 22.8 cm
Published by Melbourne University Press / Naarm

$60.00 - In stock -

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Keeping Things Together: 50 Years of the Women’s Art Register is a dynamic, polyvocal anthology exploring 50 years of community, care and perseverance.

Keeping Things Together delves into the 50-year legacy of the Women’s Art Register (W.A.R.), Australia’s only living archive of women’s art. This landmark publication celebrates W.A.R.’s grassroots origins and ongoing role in documenting and championing women’s art practice.

Featuring new writing, creative works and archival material, it brings together diverse voices—artists, historians, curators, archivists and educators—to explore feminist art history and the power of archives. Keeping Things Together critically rethinks how cultural knowledge is preserved, shared and expanded, amplifying marginalised voices and reviving forgotten histories. It offers fresh insight into Australian art, feminism and archival practice and provides an accessible introduction to W.A.R.’s significant collection.

Contributors: Carla Abate, Diana Baker Smith, Sofi Basseghi, Catherine Bell, Sophia Cai, Anna Daly, Bonita Ely, Gail Harradine, Maya Hodge, Sahra Martin, Georgia Milford, Juliette Peers, Caroline Phillips, Merren Ricketson, Lisa Roberts, Meredith Rogers, Bea Rubio-Gabriel, Anna Sande, Ema Shin, Nur Shkembi, Peta Tait, Ellie Thomas, Nat Thomas, Azza Zein.

Edited by: Anna Daly, Sahra Martin and Merren Ricketson

File under: Carla Abate Diana Baker Smith Sofi Basseghi Catherine Bell Sophia Cai Anna Daly Bonita Ely Gail Harradine Maya Hodge Sahra Martin Georgia Milford Juliette Peers Caroline Phillips Merren Ricketson Lisa Roberts Meredith Rogers Bea Rubio-Gabriel Anna Sande Ema Shin Nur Shkembi Peta Tait Ellie Thomas Nat Thomas Azza Zein Melbourne University Press / Naarm Theory / Essay Feminism Art Group Shows / Collections Australian Art Performance / Dance / Theater Gender Studies / Sexuality Sociology / Politics

Hidden Modernism: The Fascination with the Occult around 1900

2026, English
Hardcover, 296 pages, 28 x 23.5 cm
Published by Walther König / Köln Albertina Modern / Vienna

$115.00 - In stock -

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From auratic presences to mediumistic drawings—an account of the occult's role in the art of Vienna's Lebensreform movement.

Around 1900, a nature-oriented way of life, spiritism and theosophy inspired artists from Arnold Schoenberg to Egon Schiele. Hidden Modernism is the first to explore the occult aspects of the "Lebensreform" movement in Vienna. In the late 19th century, criticism of industrialized society's materialism reached Vienna. Spiritism and theosophy inspired many who were looking for a "better self." Painters such as Albert von Keller and Gabriel von Max documented their trance states, Gertrude Honzatko-Mediz created mediumistic drawings, the writer August Strindberg painted dark landscape visions, artists such as Richard Gerstl, Arnold Schoenberg, Egon Schiele, Oskar Kokoschka and Max Oppenheimer saw their models as auratic presences. Through intensively researched scholarly texts and abundant artwork images and archival photographs, this volume examines the search for the "New Human" in Vienna without ignoring the darker aspects of magical thinking.

Edited by Matthias Dusini, Ivan Ristic, Hans-Peter Wipplinger. Text by Karl Baier, Matthias Dusini, Laura Feurle, Kira Kaufmann, Astrid Kury, Michaela Lindinger, Therese Muxeneder, Ivan Ristic.

File under: Gertrude Honzatko-Mediz August Strindberg Richard Gerstl Arnold Schoenberg Egon Schiele Oskar Kokoschka Max Oppenheimer Alfred Kubin Carl Anton Reichel Hans Makart Karl Wilhelm Diefenbach Koloman Moser Edvard Munch Karl Baier Matthias Dusini Laura Feurle Kira Kaufmann Astrid Kury Michaela Lindinger Therese Muxeneder Ivan Ristic Walther König / Köln Albertina Modern / Vienna Painting Art Occult / Esoterica Drawing Group Shows / Collections Theory / Essay Symbolism / Decadence / Fin de siècle Out-of-print / Rare