World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—FRI 12—6 PM
SAT 12—4 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1991, English
Softcover (string-bound w. dust jacket), 60 pages, 20 x 13 cm
1st Edition, Out of print title / used / very good
Published by
Shepparton Art Gallery / Victoria
$55.00 - Out of stock
Limited edition and now very scarce catalogue published to accompany the exhibition "Brown : 1970's Ceramics from the Shepparton Art Gallery Collection" curated by Joseph Pascoe and Katrina Fraser for the Shepparton Art Gallery, Victoria, in 1991. Published in an edition of 500 copies, bound with string and printed on multiple raw paper stocks in earthy brown monochrome. Features the work of Doug Alexander, Les Blakebrough, David Bradshaw, Joan Campbell, Aleks Danko, Phyl Dunn, Margaret Dodd, Ivan Englund, Noel Flood, Marea Gazzard, John Gilbert, Victor Greenaway, Joan Grounds, Sylvia Halpern, Harold Hughan, Lorraine Jenyns, John Johnson, Col Levy, Judy Lorraine, Janet Mansfield, Harry Memmott, Anne Mercer, Milton Moon, Tim Moorhead, Gwyn Hanssen Pigott, Reg Preston, Peter Rushforth, Bernard Sahm, Shigeo Shiga, Mitsuo Shoji, Derek Smith, Ian Sprague, Hiroe Swen, Stefan Szonyi, Peter Travis, Alan Watt. Each illustrated artist page includes the exhibited work(s), along with details and biography on the artist-craftsperson. Texts by Joseph Pascoe, Janet Mansfield and Katrina Fraser, full catalogue of works and footnotes. A unique, handsome and valuable resource from one of the most important collections of modern Australian ceramics.
Very Good copy.
2020, English
Softcover, 150 pages, 21 x 29.7
Ed. of 100,
Published by
Endless Lonely Planet / Melbourne
$25.00 - In stock -
Melbourne Artist Facilitated Biennial publication by Melbourne artist Christopher LG Hill is both the ninth issue of his ongoing publishing imprint Endless Lonely Planet, and a major survey art book marking the end of his 12 year artist facilitated biennale project, spanning 2008-2020.
"Multiple sites and moments, artist facilitated biennials extending on structures and limitations set by Signs of life: Melbourne International Biennial 1999. Abstracting and bringing new meaning to the form of a biennial as a more casual and independent entity, the project has seen many participants and collaborators over the last 12 years. This book hopes to document some of these moments, but more so to be a catalyst for different modes and models that it may inspire." — publisher
Includes extensive photographic documentation of The (self initiated, Artist funded) second (fourth) Y2K Melbourne Biennial of Art (& Design), TCB art inc., 2008; The First & Final Y3K Second (third) Inaugural Melbourne Biennial of International Arts, Y3K, 2011 (curated by Joshua Petherick, James Deutsher, and Christopher L G Hill); Third/Fourth Melbourne Biennial, Margaret Lawrence Gallery, 2013; 4th/5th Melbourne Artist Facilitated Biennial, TarraWarra Museum of Art, 2016 (as part of TarraWarra Biennial 2016: Endless Circulation curated by Victoria Lynn and Helen Hughes/Discipline); 5th/6th final Melbourne Artist Facilitated Biennial, Dec 2018 -Dec 2020 (co-facilitated by Virginia Overell and Christopher L G Hill in their apartment/ the ex-Telecom building that was the site of the Melbourne International Biennial 1999)
Includes the work of ACW, Liz Allen, Animal Charm, Dan Arps, Sean Bailey, Liv Barrett, Matthew Brown, Ruth Buchannan, Jon Campbell, Jane Caught, Xin Cheng, Fiona Connor, Ying Lan Dann, James Deutsher, Daniel du Bern, Ida Ekblad, ffiXXed, Pat Foster & Jen Berean, Justin K Fuller, Matt Griffin, Ardi Gunawan, Hao Guo, Bianca Hester, Christopher L G Hill, Matt Hinkley, Helen Johnson, Lisa Kelly, Devin Kenny, Taree Mackenzie, Simon McGlinn, Rob Mckenzie, Nick Mangan, Scott Mitchell, Tahi Moore, Kate Newby, Geoff Newton, John Nixon, OSW, Alexander Ouchtomsky, Damon Packard, Spiros Panigriakis, Sean Peoples/ Cheese Peoples, Joshua Petherick, Kain Picken, Janneke Raaphorst, Nick Selenitsch, Christopher Schueler & Matthew Hopkins, Gregory P Sharp, Kate Smith, Sriwhana Spong, Dylan Statham, Masato Takasaka, Ben Tankard, Simon Taylor, Alex Vivian, Annie Wu, Hany Armanious, Andreas Banderas, Mikala Dwyer, Katherine Huang, Tobias Kaspar, Piotr Łakomy, Taree Mackenzie, Tahi Moore, Michael O’Connell, Ester Partegas, Natalie Rognsoy, John Spiteri, Dan Arps, Sean Bailey, Olivia Barrett, Matthew Benjamin, Jon Campbell, Trevelyan Clay, Fiona Connor and Michala Paludan, James Deutsher, DoubleFly, George Egerton-Warburton, Endless Lonely Planet, ffiXXed, Alicia Frankovich, Justin K Fuller, Marco Fusinato, Greatest Hits, Ardi Gunawan, Hao Guo, Christopher L G Hill, Matt Hinkley, David Homewood, Matthew Hopkins, Lou Hubbard, Renee Jaeger, Helen Johnson, Kenneth Biennale (curated by Kenny Pittock and Amy May Stuart: Chris Clarke, Christo Crocker, Christina Hayes, Chris L G Hill, Christine Pittock, Christopher Sciuto), Legendary Hearts (Kieran Hegarty and Andrew Cowie), S.T. Lore, Patrick Lundberg, Carrie McGrath, Rob McKenzie, Taree McKenzie, Nick Mangan, Gian Manik, Kate Meakin, Adelle Mills, Tahi Moore, Kate Newby, Elizabeth Newman, Virginia Overell, Sean Peoples, Joshua Petherick, Kain Picken, Lisa Radford and Sam George, Nick Selenitsch, Kate Smith, Studio Masatotectures, Sydney (Esther Edquist), Masato Takasaka and Madeline Kidd, Ben Tankard, Alex Vivian, Nicki Wynnychuk, y3k, Lauren Burrow, Counterfeitnessfirst, James Deutsher, Laurel Doody, George Egerton-Warburton, ELP3 Vine, Endless Lonely Planet, Lewis Fidock, Aurelia Guo, Christopher L G Hill, Lou Hubbard, Lucina Lane, Kate Meakin, Tahi Moore, Elizabeth Newman, Liam Osborne, Virginia Overell, Joshua Petherick, Lisa Radford, Zac Segbedzi, Nick Selenitsch, Nicholas Tammens, Alex Vivian, Rudi Williams, Gavin Bell, Jarrah de Kuijer and Simon McGlinn, Candida ((Gian Manik and Ricarda Bigolin) in collaboration with Agnieszka Chabros, Samuel Heatley and Jaala Jensen), Xin Cheng, Fiona Connor, Renee Cosgrave, Christo Crocker, Ying Lan Dann, Endless Lonely Planet, Richard Frater, Aurelia Guo, HB Peace, Hoggle, Lou Hubbard, Olivia Koh, Spencer Lai, Laurel Doody Library Supply, Patrick Lundberg, Kate Meakin, Olivia O’Donnell, Jason Willers, and more...
More info at http://www.christopherlghill.com
1986, English / Dutch / German / French / Italian
Hardcover (cloth w. dust jacket, inc. ephemera, guide/ticket, prints), 366 pages, 27 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Museum van Hedendaagse Kunst / Gent
$220.00 - Out of stock
First and only edition of this very special, scarce exhibition catalogue / photo-book published to document and accompany the innovative exhibition Chambres d'Amis (‘friends’ rooms’), organised by Jan Hoet in Ghent in 1986, awarding him an international reputation as a leading artistic figure in Belgium. Chambres d'Amis featured about 50 European and American artists invited by Hoet to create works for 50 private homes in Ghent, which were then opened to the public for several weeks between June 21 - September 21, 1986. Artists included are Carla Accardi, Christian Boltanski, Raf Buedts, Daniël Buren, Michaël Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol LeWitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio.
The entire city-wide exhibition is comprehensively documented herein (from the domestic interior installations themselves to behind-the-scenes photography, social and working imagery of the artists installing and meeting, public events, etc.) in colour and b/w on various paper stocks with many fold-out panels and reproductions of artist's sketches, alongside extensive texts by Jan Hoet and statements accompanying the work of each artist all in Dutch, English, French, German, and Italian. Includes a list of all hosts/hostesses alongside the artists.
An incredible document of one the most important and unique contemporary art exhibitions in Belgium's history. Jan Hoet (23 June 1936 – 27 February 2014) was the Belgian founder and director of SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (director from 1975 until 2003) and subsequently managed several important exhibitions all over the world including curating Documenta IX in Kassel in 1992, presenting several hundred works by 190 artists from nearly 40 countries.
“Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior. Art here no longer offers a mirror or a window, nor constitutes the privileged sign of a choice, but is an actual, provocative presence, confirming its difference both from the museum space, which has lost its sanctity, and from the contextual frame in which the object serves as a fetish.”—Pier Luigi Tazzi, “Albrecht Dürer would have come too”, Artforum, September 1986
Very Good copy w. some wear/light spine fading to Good dust jacket, now preserved under mylar wrap. This special copy comes most complete, including exhibition guide/work checklist, Ghent map of exhibit locations, and a selection of 4 loose photographic press prints of featured installations.
1987, English / Japanese
Softcover, 177 pages, 19 x 24 cm
1st Edition, Out of print title / used / very good
Published by
National Museum of Modern Art / Tokyo
$180.00 - Out of stock
Very rare Japanese book published in 1987 to accompany a major exhibition surveying the expression of post-war Japanese craftspeople at the National Museum of Modern Art in Tokyo. Features forward and three essays in Japanese and also translated English, plus a fantastic selection of important artists profiled in vivid full colour and black and white images throughout. Also features a chronology and list of works, making this an incredible reference for anyone interested in the subject.
Features the work of Kawamoto Goro, Kato Kiyoyuki, Ochi Kenzo, Kumakura Junkichi, Koie Ryoji, Sugie Jumpei, Suzuki Osamu, Suzuki Hyosaku III, Tsuji Shindo, Nakamura Kimpei, Isamu Noguchi, Hattori Shunsho, Hayashi Yasuo, Banura Shogo, Fujihira Shin, Miura Kageo, Mitsuhashi Kunitami, Miyata Rando III, Motono Toichi, Morino Hiroaki, Yagi Kazuo, Yanagihara Mutsuo, Yamada Hikaru, working across primarily ceramic, but also textile, metal and painting.
A wonderful, rare publication of well-known and very rarely seen wonders of post-war Japanese crafts.
Very Good copy.
1966, German
Softcover, 52 pages, 20 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Haus am Waldsee / Berlin
$65.00 - Out of stock
Gorgeous first edition catalogue from 1966 published on the occasion of the exhibition "Phantastische Figuration" at Haus am Waldsee in Berlin. Featuring the work of Paul Wunderlich, Hans Bellmer, Gerhard Altenbourg, Richard Oelze, Friedrich Schröder-Sonnenstern, Ursula (Schultze-Bluhm), this beautifully printed catalogue is illustrated throughout in colour and b/w with biographies and portraits for each exhibiting artist. With a foreword by Edouard Roditi.
Fine copy in stiff silkscreened covers.
1970, German
Softcover, 36 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Wolfgang Gurlitt / Münich
$55.00 - Out of stock
First edition of this scarce catalogue published on the occasion of the group exhibition "Phantastische Malerei" at Galerie Wolfgang Gurlitt in Münich in 1970. An rare and illuminating overview of German fantastic and Surrealist painters and graphic artists, many seldom documented in print. Illustrated throughout with examples of work by all exhibiting artists alongside a short bio and catalogue of exhibited works. Artists : Bele Bachem, Karlheinz Bauer, Gisela Breitling, Peter Collien, Edgar Ende, Ernst Fuchs, Thomas Häfner, Siegbert Hahn, Claus-Dietrich Hentschel, Siegfried Klapper, Gusti Knight-Stinnes, Karl Korab, Hans Kramer, Anton Krejcar, Wolfgang Lenz, Wolfgang Lettl, Helmut Lincke, Reny Lohner, Franz Luby, Pit Morell, Andreas Nottebohm, Franz Radziwill, C. Walter Rauh, Kurt Regschek, Heinz Rose, Friedrich Schröder-Sonnenstern, Bernard Schultze, Rainer Schwarz, Manfred Sillner, Helmut Ullrich, Ursula, Mac Zimmermann, Rudolf Zündel.
Very Good copy with tanning to edges and light spine wear.
1984, English
Softcover, 90 pages, 29 x 21 cm
1st Edition, Out of print title / used / very good
Published by
LAICA / Los Angeles
$70.00 - Out of stock
Scarce catalogue published on the occasion of the exhibition "Australia: Nine Contemporary Artists" at Los Angeles Institute of Contemporary Art, June 30 - August 14, 1984. To coincide with the 1984 Summer Olympics in Los Angeles, LAICA director Robert Smith invited nine Australian artists (John Davis, John Dunkley-Smith, Marr Grounds, Lyndal Jones, John Nixon, Mike Parr, Redback Graphix, Stelarc) to create site-specific installations at the gallery. This generous catalogue profiles the work of each artist with reproductions of past works, artist writings, and document of their various outcomes in Los Angeles. Includes biographies.
Very Good copy with some tanning to covers and sticker residue to bottom of spine/front. Sticker on verso reading "Exhibitions Australia".
1988, English
Softcover (single fold-out card), 210 x 297
1st Edition, Out of print title / used / fine
Published by
200 Gertrude Street / Melbourne
$10.00 - Out of stock
Scarce catalogue published on the occasion of the exhibition Vasari Revisited: A Kunstkammer In Melbourne, organised by Michael Graf, at 200 Gertrude Street in 1988-89. Graf's Australian recreation of Studiolo of Francesco I in the Gertrude gallery! Illustrated text by Michael Graf throughout alongside a catalogue of exhibited works by Suzannah Barta, Stephen Bram, Angela Brennan, Gavin Brown, Tony Clark, Rebecca Driffield, Rozalind Drummond, Louise Forthun, Helena Gleeson, Michael Graf, Louise Harper, Matlu Hassan, Andrew Lehman, John Mackinnon, Anne-Marie May, Rob Mcleish, Dora Mcphee, Paul Morgan, Louise Murray, Elizabeth Newman, Amanda Ritson, Joanne Ritson, Sarah Ritson, Ian Russell, Anne Weir
Fine copy.
1989, English
Softcover (single fold-out card), 210 x 297
1st Edition, Out of print title / used / fine
Published by
200 Gertrude Street / Melbourne
$10.00 - Out of stock
Scarce catalogue published on the occasion of the exhibition Physical Culture: A Series Of Performances And An Exhibition Of Visual Culture, curated by Shelley Lasica, at 200 Gertrude Street in 1989. Introductory text by Lasica alongside a full list of performance and exhibited works by Stephen Bram, Elizabeth Newman, Louise Forthun, Mutlu Hassan, Melbourne Research Group, John De Silentio and Aleks Danko, Rosslynd Piggott, Shiralee Saul, Trevor Patrick, Teresa Blake and Dan Wilton, Jacqui Rutten, Sarah Ritson, Andrew Browne, Richard Todd.
Fine copy.
2012, English
Softcover, 116 pages, 17 x 24.4 cm
Published by
Surpllus / Melbourne
$30.00 $10.00 - Out of stock
Hostings: Ocular Lab, 2003–10 documents and celebrates the eight-year history of Ocular Lab Inc., an artist-run initiative that occupied a disused milk bar in West Brunswick, Melbourne. The book features 96 pages of imagery, new essays by Stephen Zagala and Zara Stanhope, and a chronology of ‘the Lab’. Hostings was produced on the occasion of the exhibition Ocular Lab Inc. at the VCA Margaret Lawrence Gallery, 12 April – 5 May 2012.
Describing Ocular Lab in Frieze magazine, Max Delany wrote: ‘The activities and programme at Ocular Lab have evolved through a particular emphasis on hosting and dialogue and a desire for non-hierarchical collective processes. Ocular Lab dinners, held in the gallery space, often in honour of a visiting artist, became emblematic of a wider set of principles. The exhibition programme developed through individual members hosting projects, rather than by application or a committee judging process. Visiting artists always used the space rent-free, allowing for the space to be used in an open-ended spirit, often for process-based projects or as a temporary studio. And an array of international exchange projects took place in the space, ranging from artist talks and dinners through to longer-term site-specific projects.’
The Ocular Lab membership was Damiano Bertoli, Sandra Bridie, Julie Davies, Raafat Ishak, Sean Loughrey, Jonathan Luker, Sally Mannall, Tom Nicholson, Elvis Richardson, and Alex Rizkalla. Previous members include John Abbate, Katherine Huang, Louise Paramor, Kirsten Rann, and Bernhard Sachs.
Editors: Julie Davies & Brad Haylock
Design: Brad Haylock
Edition of 600 copies.
2013, English
Hardcover (w. dust jacket), 224 pages, 9 x 14.5 cm
1st Edition of 2000,
Out of print title / used / fine
Published by
Dent De Leone / London
$80.00 $25.00 - Out of stock
Artists’ Cocktails by Ryan Gander - A compendium of artists’ cocktails
with Åbäke, Allora & Calzadilla, Spencer Anthony, Cory Arcangel, Art & Language, Jesse Ash, Mary Aurory, Fiona Banner, David Batchelor, Justin Beal, Jacqueline Bebb, Vanessa Billy, Pierre Bismuth, Martin Boyce, Pavel Büchler, Dinos Chapman, Steve Claydon, Keren Cytter, Jeremy Deller, Joseph del Pesco, Anthony Discenza, Rose Duvall, Sean Edwards, Vivi Enkyo, Aston Ernest, Winnie Ernest, Abbé Faria, Claire Fontaine, Simon Fujiwara, Michael Fullerton, Martino Gamper, Ryan Gander, Mario Garcia Torres, Tom Gidley, Liam Gillick, Matt Golden, Rodney Graham, Irwin Green, Joseph Grigely, Sigurdur Gudmundsson, Drew Heitzler, Anton Henning, Mark Hix, The Hut Project, Pierre Huyghe, Taka Izumi, Christian Jankowski, Alan Kane, Jacob Kassay, Gabriel Kuri, Tim Lee, Gabriel Lester, Benoît Maire, Raimundas Malašauskas, Kris Martin, Christian Matthiessen, Alan Michael, Haroon Mirza, Jonathan Monk, Jody Monteith, Sarah Morris, Olivier Mosset, Shahryar Nashat, John Henry Newton, Carsten Nicolai, Olaf Nicolai, Nishikawa, David Noonan, Roman Ondák, Pratchaya Phinthong, Tobias Rehberger, David Renggli, Amanda Ross-Ho, Eran Schaerf, David Shrigley, Lucy Skaer, Bob and Roberta Smith, Nedko Solakov, Haim Steinbach, Santo Sterne, Jack Strange, Rirkrit Tiravanija, Mark Titchner, Santo Tolone, Simon Turnbull, Uri Tzaig, Francis Upritchard, Yonatan Vinitsky, Carl Michael von Hausswolff, Lawrence Weiner, Terrance E. White, Bedwyr Williams, Jesse Wine, John Wood & Paul Harrison, Cerith Wyn Evans...
“I have something for you, I’ll send it over. You know for four years now I have been trying to propagate shiso and it hasn’t grown. I tried everything: freezing and thawing the seeds, leaving them in the dark for a year, different temperatures and humidity… The seeds Taro sent me in February came up no problem, just in fine soil with a sheet of paper over the pot outside, no special equipment or lights. Crazy. The kitchen garden at home is now being taken over by green shiso plants with huge leaves everywhere. We have a glut, as the English call it. Fearful of it not reseeding and growing next year I’ve been stripping the leaves and producing shiso sugar syrup and shiso-infused vodka. The vodka is unbelievably good! I thought of proposing it to ABSOLUT as a new flavour. We’ll see. Anyway, I have a bottle for you! ”
Extract from: [Extracts from… ] A conversation between Ryan Gander and Masako Hosoi
Edited by Ryan Gander, Phil Mayer with editorial assistance by Holly Featherstone, Barnie Page and Anna Stoppa.
Design by Åbäke with Delphine Bourit.
Out of print.
1983, English
Softcover, 100 pages, 25 x 21 cm
1st Edition, Out of print title / Used*,
Published by
Art Gallery of South Australia / Adelaide
$48.00 $20.00 - Out of stock
Catalogue published on the occasion of the exhibition "Recent Australian Painting - A Survey 1970-1983" curated by Ron Radford in 1983, at the Art Gallery of South Australia, Adelaide.
"The exhibition RECENT AUSTRALIAN PAINTING: A Survey 1970-1983 is the first survey exhibition ever staged covering the whole period. It documents the major artists of the period and the overlapping movements or styles which can generally be labelled as Minimalism, Abstract Expressionism, Lyrical Abstraction, Neo Realism, Political Art, Ocker Funk, Popism and New Image Painting."
Features the work of Arthur Boyd, Mike Brown, Robert Hunter, Jenny Watson, Paddy Carrol Tjungurrayi, Dini Nolan Tjampitjinpa, Robert Rooney, Juan Davila, Clifford Possum Tjapaltjarri, Robert Macpherson, John Nixon, Dale Frank, Fred Williams, Annette Bezor, Brett Whiteley, Dick Watkins, John Brack, Gunter Christmann, Gareth Sansom, Uta Uta Tjangala, and many others through full colour and black and white reproductions of works, plus biographies and texts.
2017, English
Hardcover (clothbound), 138 pages, 16.7 x 23 cm
Published by
Nanaimo Art Gallery / Canada
Sternberg Press / Berlin
$65.00 $10.00 - Out of stock
Edited by Jesse Birch with Will Holder
Texts by Jesse Birch, Lynne Bowen, Peter Culley, Antonio Graydon, Sarah Ogan Gunning, Franz Kafka, George Orwell, Michael Taussig; together with artworks by Stephanie Aitken, Raymond Boisjoly, Edward Burtynsky, Peter Culley, Jeremy Deller and Mike Figgis, Gray Metal, Devon Knowles, Yuanchen Liu, William Notman & Son, Jerry Pethick, Mimi Pickering, Kerri Reid, Scott Rogers
This publication expands a 2014 multisite contemporary art exhibition that took place in Nanaimo, British Columbia, a small city on the eastern edge of Vancouver Island. The title refers to coal mining, an industry that has formed and fragmented communities through economic development, racial segregation, and labor inequity, while fueling the modern world. In this book, forgotten or under-acknowledged histories are investigated and discussed along with cultural forms that surround the practices of international coal mining. Contemporary artworks, poetry, essays, literature, folk songs, and archival images come together to extract meaning from this fossilized black carbon that continues to power our cities.
Black Diamond Dust is the first of three projects to engage the resource industries of Vancouver Island (coal mining, forestry, and fisheries) through contemporary art.
Copublished with Nanaimo Art Gallery, Canada
Design by Will Holder
1981, English
Softcover, 208 pages, 27.5 x 21.5 cm
1st Edition, Out of print title / used / average
Published by
SFMOMA / San Francisco
$50.00 $20.00 - Out of stock
Scarce and important exhibition catalogue published in conjunction with the survey exhibition held at the San Francisco Museum of Modern Art, December 21, 1979 - February 10, 1980. Edited by Suzanne Foley, this important publication traces a decade of conceptual art activity in the Bay Area, encompassing the artists, activities, spaces, performances, and periodicals, accompanied by texts and a chronology by Constance Lewallen. Includes the work of 21 artists including Lynn Hershman, Terry Fox, Paul Kos, Jim Melchert, Bonnie Sherk, Ant Farm, Tom Marioni, Howard Fried, Linda Montano, Peter D'Agostino and many other individuals and organizations. Documents the spaces Richmond Art Center, University of California at Davis, University Art Museum at Berkeley, Reese Palley Gallery, Museum of Conceptual Art, 80 Langton Street, The Floating Museum, Site, La Mamelle, and many more.
Good withdrawn ex-library copy with some associated markings and plastic covering. Some tanning and wear.
2020, English
Softcover, 320 pages, 11 x 18 cm
Published by
CCA Wattis Institute for Contemporary Arts / San Francisco
Sternberg Press / Berlin
$32.00 - Out of stock
Texts by Sara Ahmed, Nicole Archer, Georges Bataille, Dodie Bellamy, Michele Carlson, Thomas Clerc, Combahee River Collective, Bob Flanagan, Ursula K. Le Guin, Johanna Hedva, Glen Helfand, Juliana Huxtable, Alex Kitnick, Julia Kristeva, Audre Lorde, Lisa Robertson. Contributions by Marcela Pardo Ariza, Justin G. Binek, Kaucyila Brooke, Tammy Rae Carland, Mary Beth Edelson, Mike Kuchar, Anne Mcguire, Patrick Staff, Frances Stark, Rosemarie Trockel
Driven by the central question “What are we learning from artists today?” the first volume of the new series edited by Anthony Huberman and Jeanne Gerrity at the CCA Wattis, A Series of Open Questions, is informed by themes found in the work of Dodie Bellamy, such as contemporary forms of feminism and sexuality, the rebirth of the author, and ways in which vulnerability, perversion, vulgarity, and self-exposure can be forms of empowerment. Where are the tiny revolts? comprises a broad array of contributions, including memoir, theoretical essay, art-historical analysis, poetry, and fiction, as well as diverse visual elements, ranging from photographs by Anne McGuire and Mike Kuchar, among others, collages by Mary Beth Edelson, and drawings by Rosemarie Trockel.
Design by Scott Ponik
Jeanne Gerrity is the Deputy Director and Head of Publications at the Wattis and has written for such publications as Artforum, Art Agenda, and Frieze.
Anthony Huberman is the Director and Chief Curator of the Wattis Institute for Contemporary Arts in San Francisco and Founding Director of the Artist's Institute in New York.
2020, English
Softcover, 264 pages, 27 x 22 cm
Published by
Koenig Books / London
Museum of Art / Łódź
$85.00 $65.00 - In stock -
This publication follows the experiments in avant-garde sculpture in its dialogue with the space, movement and human body, guided by the theory and practice of Polish artist, Katarzyna Kobro (1898–1951).
For the first time Kobro’s artistic experiments is presented in the context of corresponding sculptural endeavours such artists as Vladimir Tatlin, Naum Gabo, Friedrich Kiesler, and El Lissitzky. In Kobro’s view, the dynamism of our motor skills should be counterbalanced with a carefully measured and organised sequence of plastic (sculptural, architectural) rhythms unfolding in both time and space. According to Kobro, sculpture was becoming a model of the new order to be potentially introduced in our immediate environment based on a psychophysical coordination of human beings leading to a rationalised and purposeful construction of the space of every-day life as well shaping social behaviours.
This book confronts her ideas with the work of her Modernist contemporaries such as Naum Gabo, Alexander Calder, Barbara Hepworth, Gustaw Klucis, El Lissitzky, Antoine Pevsner, Jean Arp, Alexander Archipenko, Friedrich Kiesler, Vladimir Tatlin, and Oskar Schlemmer in order to show the full scope of the avant-garde experiment in sculpture. Featuring writings by renowned American art critic Rosalind E. Krauss, and French-American art historian Yve-Alain Bois.
Published on the occasion of the exhibition, Composing the Space: Sculptures in the Avant-Garde at Museum of Art in Łódź (4 October 2019 – 2 February 2020).
2020, English
Softcover, 132 pages, 22.9 x 15.9 cm
Published by
Mamco / Genève
$63.00 $30.00 - Out of stock
This book documents the scrupulous recreation, inside MAMCO Geneva, of a flat owned between 1975 and 1992 by Parisian collector and self-described agent d’art Ghislain Mollet-Viéville. Mollet-Viéville’s apartment on the rue Beauborg showcased his incredible collection of minimalist and conceptual art; the flat served flexibly as home, gallery and crossroads of international contemporary art. Featuring works by Victor Burgin, Dan Flavin, Donald Judd, Carl Andre, Claude Rutault, Art & Language, John McCracken and Lawrence Weiner, Mollet-Viéville’s collection, and its display in his apartment, defined a radical approach to collecting and played an important role in publicizing the work of these artists in France.
MAMCO acquired Mollet-Viéville’s groundbreaking collection in 2017; The Apartment is the first publication to celebrate and study Mollet-Viéville’s collection and its faithful reinstallation at MAMCO Geneva as a “period room” of contemporary art history. The Apartment features an analysis of each work included in the installation, an interview with Mollet-Viéville conducted by Lionel Bovier and Thierry Davila, and an essay by Patricia Falguières.
2017, English
Hardcover (w. dust jacket), 312 pages, 18 x 23 cm
Published by
University of Chicago Press / Chicago
$87.00 $60.00 - Out of stock
Art historian Darby English is celebrated for working against the grain and plumbing gaps in historical narratives. In this book, he explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of black cultural politics: Contemporary Black Artists in America, shown at the Whitney Museum of American Art, and The DeLuxe Show, an integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.
1971 takes an insightful look at many black artists' desire to gain freedom from overt racial representation, as well as their and their advocates' efforts to further that aim through public exhibitions. Amid calls to define a "black aesthetic" or otherwise settle the race question, these experiments with modernist art favored cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight.
The power and social importance of these experiments, English argues, came partly from color's special status as a racial metaphor and partly from investigations of color that were underway in formalist American art and criticism. From Frank Bowling to Virginia Jaramillo, Sam Gilliam to Peter Bradley, black modernists and their supporters rose above the demand to represent or be represented, compromising nothing in their appeals for racial reconciliation. At a time when many debates about identity sought closure, these exhibitions offered openings; when icons and slogans touted simple solutions, they chose difficulty. But above all, as English demonstrates in this provocative book, these exhibitions and artists responded with optimism rather than cynicism to the surrounding culture's preoccupation with color.
1985, English
Softcover (stapled), 14 pages, 20.5 x 25.5 cm
1st Edition, Out of print title / used / good
Published by
Charles Nodrum / Melbourne
$35.00 - Out of stock
Published on the occasion of an exhibition at the Charles Nodrum Gallery in Melbourne, 1985, this scarce catalogue features the work of Robert Klippel, Danila Vassilieff, George Duncan, Alison Rehfisch, Roland Wakelin, Grace Cossington Smith, Sybil Craig, Hector Gilliland, Peggy Crombie, William Frater, Russell Drysdale, Kenneth Jack, Miriam Moxham, Dorothy Braund, John Taylor, Michael Shannon, Kenneth Rowell, Clifton Pugh, Lawrence Daws, Godrey Miller, Leonard Crawford, William Rose, Syd Ball, Alun Leach Jones, Jonas Balsaitis, John Firth Smith, Fred Cross, Paul Partos, Ron Lambert, Gunther Christmann, David Fitts, Brian Westwood, John Hopkins, Vivienne Pengilley. Illustrated throughout in black and white. Includes tipped in compliments note signed by "Charles" Nodrum.
1968, Japanese / German
Softcover, 80 pages, 21 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Goethe-Instituts / Japan
Staalichen Museums für Moderne Kunst / Tokyo
$70.00 - Out of stock
1st pinting of this publication on Dada, published in Japan in 1968. Features the work of Marcel Duchamp, Hannah Höch, Sophie Taeuber-Arp, George Grosz, Kurt Schwitters, Max Ernst, Josef Albers, Hans Richter, Hans Arp, Man Ray, Francis Picabia, Raoul Hausmann, John Heartfield, Peter Agostini, Jean Tinguely, Karl Gerstner, and more reproduced alongside a collaged history of Dada across the globe (New York, Zürich, Cologne, Italy, Paris, Berlin, Hannover) w. reproductions of texts, illustrations, publications and ephemera.
Very Good copy.
1974, German
Softcover, 169 page, 20 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Städtisches Museum / Leverkusen
$65.00 $45.00 - In stock -
"Medium Fotografie" was published on the occasion of the exhibition of the same name held at Städtisches Museum, Leverkusen, 18 May - 5 August 1973.
Foreword by Rolf Wedewer; Artists featured include Herbert Bayer, Hans Bellmer, Anton Giulio, Marcel Duchamp, Theodor Fraenkel, Hannah Höch, Layos Kalsas, Lazlo Moholy-Nagy, George Mucha, Man Ray, Luigi Veronesi, Stuart Wiese, Christian Boltanski, Marcel Broodthaers, Hamish Fulton, Christoph Kohlhöfer, Ingrid Kohlhöfer, Sigmar Polke, Gerhard Richter, Johannes Theodor Baargeld, Tristan Tzara, El Lissitzky, John Heartfield, Raoul Hausmann, Jörg Immendorff, A.R. Penck, Edward Ruscha, Pablo Picasso,Gilbert & George, Walter de Maria, and many more. Heavily illustrated throughout, texts in German.
2016, English
Hardcover, 240 pages, 21.6 x 26.7 cm
Published by
University of California Press / Berkley
$110.00 $80.00 - Out of stock
The Uses of Photography examines a network of California artists whose experiments with photography during the turbulent, transitional decade of the 1970s opened the medium to a profusion of new strategies and subjects. Working within the framework of Conceptual art, these artists introduced urgent social issues and themes of everyday life into the seemingly neutral territory of photography, producing works that took on hybrid forms, from books and postcards to video and text-and-image installations.
Tracing a crucial history of photoconceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the young UC San Diego, founded in 1960, and its visual arts department, founded in 1968. Artists such as Eleanor Antin, John Baldessari, Allan Kaprow, Martha Rosler, and Allan Sekula employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique. The work of these artists shaped emergent accounts of postmodernism in the visual arts and their influence is felt throughout the global contemporary art world today. Published in association with the Museum of Contemporary Art San Diego.
Edited by Jill Dawsey
Texts by Judith Rodenbeck, Benjamin Young , David Antin, and Pamela M. Lee
Artists include David Antin, Eleanor Antin, John Baldessari, Jean-Pierre Gorin, Helen Mayer Harrison, Newton Harrison, Louis Hock, Allan Kaprow, Fred Lonidier, Babette Mangolte, Martha Rosler, Allan Sekula, Lorna Simpson, Elizabeth Sisco, Phel Steinmetz, Carrie Mae Weems.
2002, English / German
Softcover, 68 pages, 22 x 27 cm
Published by
Walther König / Köln
$35.00 - Out of stock
The Best Book About Pessimism I Ever Read, a group exhibition curated by Scottish artist Lucy McKenzie at Kunstverein Braunschweig in 2002, builds a bridge between international artists to create a forum in which subject areas such as "content as a metaphor for meaning", "pictoriality as a medium for the concept" and "negation through representation" are up for discussion. Features the work os John Byrne, Bonnie Camplin, Enrico David, Keith Farquhar, Alasdair Gray, Ronnie Heeps, Paulina Olowska, Mathilde Rosier, Lucy Skaer, Joanne Tatham & Tom O'Sullivan. All works and installation views are documented here with media spanning drawing, embroidery, painting, illustration, literature, film, video, sculpture and spatial installation. Includes bios, texts by Lucy McKenzie, Karola Grässlin, Andrea Kusel and Neil Mulholland.
2010, English
Softcover, 110 pages, 27 x 21.5 cm
Out of print title / used / fine
Published by
Baden-Baden Kunsthalle / Germany
$65.00 - Out of stock
For more than 70 years Janette Laverriére has designed furniture and mirrored objects, which have managed to attain museal status in France. The starting point for this now out-of-print book is the wardrobe she designed for an actress in 1947, an early example of her exploration of the possibilities of and tension between the functional object and the independent artwork.
In works and installation photos, "Entre Deux Actes Loge De Comédienne" documents the works of artists who have intensively participated in the fundamental discourse on the terms art and design, applied art and use in exemplary room installations. Alongside Laverriére's historical and radical installations are contributions from Tobias Rehberger, Richard Artschwager, Nairy Baghramian, Marc Camille Chaimowicz, Cosima von Bonin, Fischli and Weiss, Claes Oldenburg, Meuser, Martin Kippenberger, Carlo Mollino, and Franz West. All works illustrated in detail throughout.
The catalog is scientifically devoted to one of the most exciting phenomena in art / architecture / design of the 20th century in image and text (English and German).