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.
2016, English
Hardcover, 336 pages, 27 x 23 cm
1st Edition, Out of print title / used / very good
Published by
The Metropolitan Museum of Art / New York
$340.00 - In stock -
This groundbreaking, award-winning book, long out-of-print, presents a multidisciplinary analysis that illuminates the making, meaning, and reception of the unfinished in art, from the Renaissance to the present day.
Published on the occasion of the exhibition, Unfinished: Thoughts Left Visible, at The Met, New York, March18—September 4, 2016. Edited by Kelly Baum, Andrea Bayer, and Sheena Wagstaff with further essays by Carmen C. Bambach, Thomas Beard, David Bomford, David Blayney Brown, Nicholas Cullinan, Michael Gallagher, Asher Ethan Miller, Nadine M. Orenstein, Diana Widmaier Picasso, Susan Stewart, and Nico Van Hout.
This exhibition addresses a subject critical to artistic practice: the question of when a work of art is finished. Beginning with the Renaissance masters, this scholarly and innovative exhibition examines the term "unfinished" in its broadest possible sense, including works left incomplete by their makers, which often give insight into the process of their creation, but also those that partake of a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cezanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory which can be traced back to the first century has had on modern and contemporary art. The book explores the degrees to which instances of incompleteness were accidental or intentional, experimental or conceptual. Also included are illuminating interviews with contemporary artists, including Tuymans, Celmins, and Marden, and parallel considerations of the unfinished in literature and film. The result is a multidisciplinary approach and thought-provoking analysis that provide valuable insight into the making, meaning, and critical reception of the unfinished in art.
Very Good copy, only light wear/marks to boards.
1997, English / Japanese
Hardcover, 100 pages, 21.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Rockin' On / Tokyo
Hysteric Glamour / Tokyo
$300.00 - Out of stock
First, only edition of Hélène, the hardcover photobook/catalogue published on the occasion of an exhibition curated by Purple magazine co-founder Elein Fleiss at Tokyo gallery THE Deep in 1997. Named after actress and nineties icon Hélène Fillières, this book is the most perfect published time-capsule of what was 90s anti-fashion Paris, and probably the most brilliant fashion photobook of the decade. Published in Japan by Hysteric Glamour and Rockin' On, Hélène is cover-to-cover full-bleed gloss pages of photography by Mark Borthwick, Anette Aurell, Camille Vivier, Christophe Brunnquell, Laetitia Benat, Ronald Stoops, and Anders Edstrom, among others. Only available in Japan when published, and now very rare and sought after. This copy complete with bound-in Hysteric Glamour sticker!
Though she began her career as a curator of art exhibitions, Elein Fleiss founded the seminal Purple Magazine with Olivier Zahm at the age of 24. Purple and Fleiss' other editing/curatorial activities were the primary vehicles for the aesthetics of what became referred to as 1990's anti-fashion. Purple – in its various incantations, Purple Prose, Purple Fashion, Purple Sexe, Purple Journal, etc. – has gone down in publishing history and changed the relationship between art, literature, architecture and fashion, resisting the obvious and the commercial.
Very Good copy with some shelf-scratches to bottom edge, general light wear, light foxing to endpapers.
1989, German
Softcover, fold-out brochure, 58.5 x 19.5 cm
1st Edition, Out of print title / used / good
Published by
Nordico Stadtmuseum / Linz
$8.00 - Out of stock
Fold-out catalogue published to accompany the 1989 exhibition, Computer Art from Yugoslavia, Poland and Hungary, held at the Nordico Stadtmuseum, Linz, Austria. Text by Predrag Šidjanin, with illustrations (in colour and b/w) and biographies of featured artists János Vetö, Tamás Waliczky, Jozef Rácz, László Neumann, Franz Curk, Vojko Pogačar, Predrag Šidjanin, Svetislav Nikoličić...
Average—Good copy with storage wear.
1977, English
Softcover (staple-bound), 12 pages, 19 x 22 cm
1st Edition, Out of print title / used / very good
Published by
George Paton Gallery / Parkville
$35.00 - Out of stock
Catalogue published in 1977 on the occasion of the exhibition Videotapes by Women from the Los Angeles Women's Video Centre, October 26—November 3, George Paton Gallery, University of Melbourne, Parkville. Texts on each video work, screening program, with introduction by Kiffy Rubbo and Meredith Rogers, essay by Candace Compton. Works by Martha Roler, Candace Compton, Nancy Angelo, Anne Prutzman, Eileen Griffin, Jennifer Kotter, Holly O'Konski, Suzanne Lacy, Barbara Smith, Leslie Carslon, Claudia Queen, Adele Shaules, Linda Henry, Ilene Segalove Linda Montana, Nancy Heath Angelo, Marge Dean, Sandra Tabori, Susan Roberta Mogul, Sheila Ruth, Jan Zimmerman.
Los Angeles Women's Video Center founded in 1976 by Nancy Angelo, Candace Compton, and Annette Hunt in 1976 and joined by Jerri Allyn in 1977, was committed making video production accessible to women artists. Through its productions about socially concerned video art, documentation of WB programs, the LAWVC was active in informing the public about women's issues and concerns.
Very Good copy, light pinching to spine.
1975, English
Softcover (glassine covers, staple-bound), 30 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Arts Council of Great Britain / London
$55.00 - In stock -
Scarce copy of Order and Experience — a guide to the exhibition of American minimalist prints, published by Arts Council of Great Britain in 1975 in the occasion of a group exhibition featuring the works of Agnes Martin, Sol LeWitt, Robert Ryman, Robert Mangold, Brice Marden, Edda Renouf, Dorothea Rockburne. Authored by Norbert Lynton (1927—2007), professor of the History of Art at the University of Sussex, this handsomely designed oblong catalogue, with printed glassine covers, is illustrated by works by the featured artists, Lynton provides two introductions, a discourse upon "Minimalism" in print-making.
Very Good copy.
1976, English
Softcover (staple-bound), 48 pages, 15 x 10.5 cm
1st Edition, Out of print title / used / very good
Published by
Fruit Market Gallery / Edinburgh
Scottish Arts Council / Edinburgh
$55.00 - Out of stock
Lovely, rare catalogue published on the occasion of Inscape, a survey of Scottish landscape art at the Fruit Market Gallery, Edinburgh curated by critic Paul Overy in 1976. Illustrated throughout with examples of works by the featured artists — Ian Hamilton Finlay, Eileen Lawrence, Will Maclean, Glen Onwin, Fred Stiven and Ainslie Yule, accompanied by texts and biographies. Errata slip pasted to front end paper.
Very Good copy.
1998, English
Softcover (staple-bound), 40 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Monash University Exhibition Gallery / Victoria
$10.00 - Out of stock
Catalogue published on the occasion of the group exhibition, Private Parts, curated by Natalie King at Monash University Gallery, 22 April—23 May, 1998, featuring the work of Jane Burton, Bonita Ely, Deej Fabyc, Brent Harris, Lyndal Jones, Deborah Ostrow, David Rosetsky, Brett Vallance, Jenny Watson. Illustrated in colour and b/w throughout with text by Natalie King and artist biographies.
Good copy with cover rubbing, general wear.
1971, English / Italian / French
Softcover, 150 pages, 24.5 x 24.5 cm
1st Edition, Out of print title / used / good
Published by
Cento Di / Florence
$190.00 - Out of stock
Rare exhibition catalogue published on the occasion of the 7th Paris Biennale held at the Parc Floral de Paris, Bois de Vincennes, Paris, France, September 24 — November 1, 1971, curated by Achille Bonito Oliva. An important volume representing the Italian avant-garde of the various sectors of art (including music and architecture) in this critical period in history, including the work of Alighiero Boetti, Pierpaolo Calzolari, Gino De Dominicis, Luciano Fabro, Mimmo Germanà, Giuseppe Penone, Emilio Prini, Gilberto Zorio, Jannis Kounellis, Giulio Paolini, Giorgio Pressburger, Achille Bonito Oliva, Mario Franco, Umberto Silva, Paolo Mussat Sartor, Frederic Rzewski, Marcello Panni, Archizoom, Superstudio, and Ufo. Illustrated throughout with many examples by each artist, alongside artists' biographies, exhibition histories, and bibliographies, and essay by Achille Bonito Oliva. Text in English, Italian, and French.
Achille Bonito Oliva (born 1939) is an Italian art critic and historian of contemporary art. Since 1968 he has taught history of contemporary art at La Sapienza, the university of Rome. He has written extensively on contemporary art and contemporary artists; he originated the term Transavanguardia to describe the new direction taken in the late 1970s by artists such as Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola De Maria, and Mimmo Paladino. He has organised or curated numerous contemporary art events and exhibitions; in 1993 he was artistic director of the Biennale di Venezia.
Good copy w. light wear/tanning/spotting.
1989, English
3 Vols. softcovers, 500 + 560 + 584 pages, 23.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Zone Books / New York
$190.00 - Out of stock
Complete set (3 volumes) of ZONE : Fragments for a History of the Human Body, published in 1989 by Zone Books, and all long out-of-print. The forty-eight essays and photographic dossiers in these three volumes examine the history of the human body as a field where life and thought intersect. They show how different cultures at different times have entwined physical capacities and mental mechanisms in order to construct a body adapted to moral ideas or social circumstances — the body of a charismatic citizen or a visionary monk, a mirror image of the world or a reflection of the spirit.
Each volume emphasizes a particular perspective. Part 1 explores the human body’s relationship to the divine, to the bestial, and to the machines that imitate or simulate it. Part 2 covers the junctures between the body’s “outside” and “inside” by studying the manifestations — or production — of the soul and the expression of the emotions and, on another level, by examining the speculations inspired by cenesthesia, pain, and death. Part 3 brings into play the classical opposition between organ and function by showing how organs or bodily substances can be used to justify or challenge the way human societies function and, conversely, how political and social functions tend to make the bodies of the persons filling them the organs of a larger body — the social body or the universe as a whole.
Among the contributors to Fragments for a History of the Human Body are Mark Elvin, Catherine Gallagher, Françoise Héritier-Augé, Julia Kristeva, William R. LaFleur, Thomas W. Laqueur, Jacques Le Goff, Nicole Loraux, Mario Perniola, Hillel Schwartz, Jean Starobinski, Jean-Pierre Vernant, and Caroline Walker Bynum.
“ZONE is unequivocally the most innovative, informative, and intellectually stimulating journal I have ever encountered…It belongs in all but the smallest personal, public, and academic collections.” —Library Journal
Very Good copies all, only light wear, light page tanning. All first editions, second printings.
2012, English
Hardcover (faux leather w. illustrated obi-strip), 304 pages, 23 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Prestel / Munich
$220.00 - Out of stock
Rare English edition of the lavish hardcover catalogue to the critically-acclaimed ECM exhibition at Munich’s Haus der Kunst in 2012, and fast out-of-print. As stunning and complex as the music it celebrates, this book presents essays, rare photographs, archival material, film stills, original album artwork, and artworks that pay tribute to one of the world's most daring and innovative record labels. Founded by the legendary producer Manfred Eicher in 1969, a moment when contemporary music was being redefined across all genres, ECM (Edition of Contemporary Music) aimed to bring jazz, improvised, and written music out of the studio and into living rooms around the world. ECM's productions set new standards in sonic complexity, recording some of the world's most extraordinary music and it's enormous stable of artists includes some of the most influential musicians of the twentieth century, such as Keith Jarrett, Chick Corea, Steve Reich, Carla Bley, Meredith Monk, Marion Brown, Codona, and Art Ensemble of Chicago - along with music from the New Series that includes Arvo Part's choral work as well as works by Komitas Vardapet and George Gurdjieff. This comprehensive volume showcases ECM's cultural breadth, not just in the music world but also within the broader artistic universe. It highlights aspects of African-American music of the 1960s in Europe at the height of the American Civil Rights Era, as well as the changing relationships between musicians, music, and listeners. Lavishly illustrated with essays by Diedrich Diederichsen, Okwui Enwezor, Kodwo Eshun, Renée Green, Markus Müller, Wolfgang Sandner, and Jürg Stenzl, the book also contains a comprehensive chronology and discography of the ECM label, and biographies of artists and authors, as well as an extensive round-table talk with Manfred Eicher, Okwui Enwezor, Steve Lake, Karl Lippegaus, and Markus Müller. The most illuminating book ever published on the legendary label, and highly recommended.
Amongst the many artists included in the book are Jan Garbarek, Don Cherry, Nana Vasconcelos, Eberhard Weber, Gary Burton, Meredith Monk, Chick Corea, Wolfgang Dauner, Carla Bley, Keith Jarrett, Paul Bley, Pat Metheny, John McLaughlin, Evan Parker, Annette Peacock, Gary Peacock, Terje Rypdal, Ralph Towner, and so many more.
Very Good-Fine copy with only light edge wear to heavy covers and light wear to obi-strip, depicting Don Cherry on the front and the Art Ensemble of Chicago on the verso.
1969 / 2006, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / fine
Published by
Kunsthalle Bern / Bern
$290.00 - Out of stock
One of the great art documents of the 20th century, "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. This is the impeccably re-produced facsimile edition of the exhibition catalogue published in conjunction with an exhibition honouring the legacy of Szeemann in 2006, published by the Kunsthalle Bern, the producers of the original. Strictly limited edition and immediately out-of-print, this most faithful reprint, with the unique die-cut alphabetically tabbed index bound with hardware-fittings, has become as collectible as the 1969 edition.
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
As New with only light creasing to the overhanging edges of the cover edges, otherwise a Fine copy.
2002, German / English
Softcover, 280 pages, 22.2 x 27.9 cm
1st Edition, Out of print title / used / very good
Published by
Schirmer & Mosel / Munich
$45.00 - In stock -
Published to accompany a 2002 exhibition of Mark Tobey / Morris Graves / John Cage appearing at the Kunsthalle Bremen (Bremen, Germany) and the Museum of Glass (Tacoma, Washington), this catalog is profusely illustrated throughout with many of the artists' works as well as interpretive and biographical essays and a chronology. The three artists were friends and collaborators linked by their connections with the Pacific Northwest, their appellation as Northwest Mystics, and, more deeply, by their shared artistic concerns. John Cage composer, philosopher, writer, and visual artist wrote extensively about Tobey and Graves, and his writings are included here as well.
Original German edition with many texts also in English, in particular Cage's.
Near Fine copy.
1996, English
Softcover (stiff french-folds), 280 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Academy Editions / London
$140.00 - Out of stock
"It was Joseph Beuys who made us think of thinking as sculpture. It was Robert Filliou who said that invention replaced composition and that this broke down the barriers between the arts. I found working with metal unique, I loved the materials and the tools. But vast sculpture that worked with the mental ability of living people seemed much more of a timely thing to me. That was 1977. I changed from metal sculpture to mental sculpture."—Louwrien Wijers
Rare first 1996 edition of this unique publication by Dutch Fluxus artist and writer Louwrien Wijers, published in London by Academy Editions.
Inspired by artists Joseph Beuys and Robert Filliou, this collection of interviews grew from the author's passionate belief that a meeting and cross-fertilisation of some of the world's greatest minds could help break down barriers between the different disciplines - art, science, spirituality and economics - leading to an increased global tolerance and understanding. This book contains ground-breaking interviews with some of the most significant thinkers of the late twentieth century including Dalai Lama, Joseph Beuys, Andy Warhol, Robert Filliou, David Bohm, Fritjof Capra, Sogyal Rinpoche, Rupert Sheldrake, Francisco Varela and Harish Johari. These previously unpublished documents date from the period 1978-1987. With the addition of a large number of rare archive photographs, this book constitutes a unique part of the history of the avant-garde as well as proposing a new holistic way of looking at the world.
Writing As Sculpture contains the longest interview ever given by Andy Warhol.
"This publication 'Writing as Sculpture' shows how Joseph Beuys sent me to Andy Warhol with the same questions I had put to him, and how Andy Warhol sent me on to the Dalai Lama of Tibet, again with the same questions. When the answers of the Dalai Lama were so very similar to the answers Joseph Beuys had given, I wrote him a postcard from Dharamsala, India, as soon as I let the Dalai Lama's abode. On the card - it was an Indian colourprint of the Tibetan flag - I said: 'Dear Joseph, you have a brother here in the Himalayas, who thinks exactly the same way about the problems of today as you do.' Back in Europe, talking to Joseph Beuys on the phone, he told me: 'Louwrien, I want to meet the Dalai Lama and I want to make a permanent co-operation with him. This way we will make Eurasia happen.'[...]"—Louwrien Wijers
1974, English / French / Japanese
Softcover (silkscreened handmade paper w. inserts), 80 pages, 30 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Crafts Council of Australia / Sydney
$50.00 - Out of stock
Wonderful 1974 publication — a pictorial anthology of Australian Crafts — published by the Crafts Council of Australia on the occasion of the first World Crafts Exhibition, Toronto, Canada, 1974. Edited by Joy Warren and designed by artist John Reid and Douglas Annand, Crafts of Australia is a lavishly tactile production, issued in unique silkscreened handmade paper covers (with inserted handmade paper map and letter to the reader) pressed by Kayes van Bodegraven, International College of Papermakers, Melbourne, and made from recycled envelopes from The Crafts Council of Australia offices, and containing paperbark from coastal Melaleuca trees, Cleveland Bay, Queensland. The Map paper containing clays from Scorsby, Knox Shire, Victoria. The book itself traces the historical background of indigenous crafts, modern attitudes and national identity in Australian craft, with texts by Marea Gazzard, Dr. H. C. Coombs, Mary White, Felicity Abraham, Ray Norman. Heavily illustrated in colour an b/w with the featured artists: Beryl Anderson, Douglas Annand, Vicky Barth, Frank Bauer, Robert Bell, Les Blakebrough, Janet Brown, Polly Blakney, Richard and Dilys Brecknock, Joan Campbell, Eric Car, Rinske Car, Margaret Dodd, Jutta Feddersen, Heather Dorrough, Susan Forsyth, Marea Gazzard, Elena Gee, Gary Greenwood, Joan Grounds, Ragnar Hansen, Mona Hessing, Harold Hughan, Jolanta Janavicius, Heather Joynes, Patricia Langford, Helge Larsen and Darani Lewers, Colin Levy, Ken Leveson, Janet Mansfield, Paula Martin, Ivan McMeekin, Pru Medlin, Hal Missingham, Mitinari, Milton Moon, Tim Moorhead, Joyce Noble, Ray Norman, Ewa Jarosynska Pachucka, Jan Strang Priest, Cedar Prest, Ron Rowe, Peter Rushforth, Tor Schwanck, Penny Smith, Pru Socha, Albert Steen, Hiroe Swen, Peter Travis, Kayes van Bodegraven, Wal van Heeckeren, Joy Warren, and many more.
Very good complete copy with some wear to the overhanging paper covers. Interior and inserts preserved.
1982, English / Japanese / Italian / French
Softcover (w. wax dust jacket), 128 pages, 21 x 29 cm
1st Edition, Out of print title / used / very good
Published by
The Japan Foundation / Tokyo
$100.00 - Out of stock
First edition of this wonderful Japanese catalogue published in 1982 to accompany an exhibition that brought together the work of 5 Western artists (Joseph Beuys, Daniel Buren, Dan Graham, Bruce Mclean, and Giulio Paolini) for a major group show held at the Laforet Museum, Tokyo and The Tokyo Metropolitan Art Museum. Each artist has many pages of work reproduced in black and white, accompanied by artists' statements, essays on each artist, and artists' biographies, in English, Japanese, Italian and French. Bound in various raw paper stocks and wrapped in printed wax paper dust-jacket.
Good-Very Good copy. Perfectly preserved with small chips and wear to dust jacket edges.
1970, English
Softcover, 208 pages, 20.3 x 25.4 cm
1st Edition, Out of print title / used / very good
Published by
MoMA / New York
$600.00 - In stock -
Extremely rare first 1970 edition of MoMA's landmark book on conceptual art, published to accompany this groundbreaking avant-garde show.
In the summer of 1970, the Museum of Modern Art in New York mounted the now legendary exhibition Information, one of the first surveys of conceptual art. Conceived by MoMA’s celebrated curator Kynaston McShine as an “international report” on contemporary trends, the show and attendant catalog together assembled the work of more than 150 artists from 15 countries to explore the parameters and possibilities of the emerging art practices of the era. Noting the participating artists’ attunement to the “mobility and change that pervades their time,” McShine underscored their interest in “ways of rapidly exchanging ideas, rather than embalming the idea in an ‘object.’” Indeed, much of the work in the exhibition engaged mass-communications systems, such as broadcast television and the postal service, and addressed viewers directly, often encouraging their participation in return.
The catalog, rather than merely document the show, functioned autonomously: it included a list of recommended reading, a chance-based index by critic Lucy Lippard, and individual artist contributions in the form of photographic documentation, textual description, drawings and diagrams—some relating to work in the exhibition and others to artworks as yet unrealized.
Artists include Vito Acconci, Carl Andre, Siah Armajani, Keith Arnatt, Art & Language Press, Art & Project, Richard Artschwager, David Askevold, Terry Atkinson, David Bainbridge, John Baldessari, Michael Baldwin, Barrio, Robert Barry, Frederick Barthelme, Bernhard & Hilla Becher, Joseph Beuys, Mel Bochner, Bill Bollinger, George Brecht, Stig Broegger, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn and Mel Ramsden, James Lee Byars, Jorge Luis Carballa, Christopher Cook, Roger Cutforth, Carlos D'Alessio, Hanne Darboven, Walter de Maria, Jan Dibbets, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Group Frontera, Hamish Fulton, Gilbert & George, Giorno Poetry Systems, Dan Graham, Hans Haacke, Ira Joel Haber, Randy Hardy, Michael Heizer, Hans Hollein, Douglas Huebler, Robert Huot, Peter Hutchinson, Richards Jarden, Stephen Kaltenbach, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol Lewitt, Lucy Lippard, Richard Long, Bruce McLean, Cildo Campos Meirelles, Marta Minujin, Robert Morris, N.E. Thing Co., Bruce Nauman, New York Graphic Workshop, Newspaper, Group Oho, Helio Oiticica, Yoko Ono, Dennis Oppenheim, Panamarenko, Giulio Paolini, Paul Pechter, Giuseppe Penone, Adrian Piper, Michelangelo Pistoletto, Emilio Prini, Alejandro Puente, Markus Raetz, Yvonne Rainer, Klaus Rinke, Edward Ruscha, J.M. Sanejouand, Richard Sladden, Robert Smithson, Keith Sonnier, Ettore Sottsass Jr., Erik Thygesen, John Van Saun, Guilherme Magalhaes Vaz, Bernar Venet, Jeff Wall, Lawrence Weiner, Ian Wilson.
Kynaston McShine was formerly Chief Curator at Large at The Museum of Modern Art, New York.
Very Good copy. Light cover wear, single spine crack, all crisp, clean interior and tightly bound copy of a book that usually sees serious page detachments. Best copy we have seen.
2018, English
Softcover, 92 pages, 21 cm x 30 cm
Ed. of 1000,
Published by
Roma / Amsterdam
$44.00 $15.00 - In stock -
This publication is an unedited reprint of the catalogue originally published by De Appel in 1980 as a follow-up to the international art manifestation ‘Works and Words’. The event sought to break with the one-way traffic of Western artists traveling to the East by inviting artists from Eastern Bloc countries to Amsterdam. The invited artists, theoreticians, film-makers, and art historians represented a broad spectrum of practices, theoretical approaches, and developments. The manifestation resulted in an active exchange of ideas, new insights, and collaborations. Indicative of the early days of De Appel, the project reflects the groundbreaking forms of artistic practice it represented.
Artists: Franklin Aalders, Jaroslav Anděl, Gábor Attalai, Zoran Belic, Jerzy Bereś, Gábor Bódy, Branko Bubenik, Michel Cardena, Nuša and Srečo Dragan, Ľubomír Ďurček, Miklós Erdély, Ivan Ladislav Galeta, Tomislav Gotovac, Frank Gribling, Buky Grinberg, Vladimir Gudac, Tibor Hajas, Zlatko Hajdler, Janusz Haka, Károly Halasz, Ágnes Háy, Vladimír Havrilla, Nan Hoover, Sanja Iveković, Servie Janssen, Zoltan Jeney, Gyorgy Jovanovic, Cezary Jaworski, Jacek Jozwiak, Szigmond Károlyi, Karoly Kelemen, Michal Kern, Milan Knížák, Tomislav Kobija, Július Koller, Mirko Komosar, Tomasz Konart, Jiří Kovanda, Harrie de Kroon, Zofia Kulik, Romuald Kutera, Paweł Kwiek, Przemyslaw Kwiek, KwieKulik, Natalia LL, Andrzej Lachowicz, Dušan Makavejev, Ivan Martinac, Dalibor Martinis, Raùl Marroquin, Dóra Maurer, Antoni Mikolajczyk, Karel Miler, Jan Mlčoch, Teresa Murak, Vjekoslav Nakić, Mihovil Pansini, Aldo Paquola, Andrzej Paruzel, Sef Peeters, Vladimir Petek, Sandor Pinczehelyi, Reindeer Werk (Dirk Larsen & Tom Puckey), Jaroslav Richtr, Józef Robakowski, Vinco Rozman, Tomasz Sikorski, Petr Štembera, Mladen Stilinović, Peter Timar, Teresa Tyszkiewicz and Zdzislaw Sosnowski, Goran Svob, Janusz Szczerek, István Sziranyi, Raša Todosijević, Endre Tot, Janos Toth, Sava Trifkovic, Ulay, Jiri Valoch, Ante Verzotti, Janos Veto, Zbigniew Warpechowski, Ryszard Waśko, Albert van der Weide, Dobroslav Zborník.
1987, English
Softcover, 144 pages, 21 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Het Apollohuis / Eindhoven
$80.00 - Out of stock
Rare 1987 exhibition catalogue published in conjunction with show held November 22—January 6, 1985. Illustrated throughout with texts by Paul Panhuysen, Ellen Fullman, Godfried-Willem Raes, Anton van Gemert, Bart Lootsma, Arnold Dreyblatt, Leon van Noorden, George Smits, and Hugh Davies. Artists include Max Eastly, Takeisha Kosugi, Walter Marchetti, Ellen Fullman, Godfried-Willem Raes, Horst Rickels, Rik van Lersel, Giancarlo Cardini, Juan Hidalgo, Jon Rose, and others. Includes selected bibliography, discography, and index.
blurb: "From November 1984 until January 1985 a group was held in Het Apollohuis, Eindhoven of works that combined image and sound. Installations, concerts and a symposium were organised around the exhibition, featuring artists who use sound in their work and composers who use visual aspects. In addition to a photographic report of this festival 'ECHO. The images of Sound I', this book contains a general survey of the development of sound arts and cassettes that have been published in the field of sound art. This section is written by Hugh Davies. Photographs, scores, drawings of articles describing the development of their own work are supplied by Julius, Ellen Fullman, HUM, Max Eastley, Takehisa Kosugi, Hugh Davies, Godfried-Willem Reas, STEIM, The Simulated Wood, VANDALIA, Arnold Dreyblatt, Richard Lerman, Leon van Noorden, Paul Panhuysen, Johan Goedhart, Hans-Karsten Raecke, Jon Rose and George Smits.[...]"
Very Good—Near Fine copy
2016, English
Softcover, 600 pages, 24 x 17 cm
Published by
Walther König / Köln
$85.00 - Out of stock
Seth Siegelaub (1941–2013) is best known for his decisive role in the emergence and establishment of Conceptual Art in the late 1960s.
This extensively researched publication documents the first exhibition about his life and work, which reassess his role as one of the distinctive characters in twentieth-century exhibition-making, while recognizing his atypical, inquisitive, and free-spirited genius.
Siegelaub was also a gallerist, independent curator, publisher, researcher, archivist, collector, and bibliographer. Often credited as the ‘Father of Conceptual Art’, he was (and remains) a seminal influence on curators, artists, and cultural thinkers, internationally and in Amsterdam, where he settled in the 1990s.
With revolutionary projects such as the Xerox Book, he set the blueprint for the presentation and dissemination of conceptual practices. In the process, he redefined the exhibition space, which could now be a book, a poster, an announcement, or reality at large.
Siegelaub’s radical reassessment of the conditions of art resonated deeply with the iconoclastic views of his contemporaries Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Lawrence Weiner, among others, with whom he developed close working relationships.
Texts by Beatrix Ruf, Leontine Coelewij , Sara Martinetti and more.
Published on the occasion of the exhibition Seth Siegelaub: Beyond Conceptual Art at Stedelijk Museum, Amsterdam, 12 December 2015 – 17 April 2016.
1966, English
Softcover (staple-bound), 18 pages
1st Edition, Out of print title / used / good
Published by
Auckland City Art Gallery / Auckland
$25.00 - In stock -
Catalogue published in 1966 on the occasion of the exhibition Eight New Zealand Artists, Auckland City Art Gallery, February 1966, featuring Don Binney, Robert Ellis, Patrick Hanly, Colin McCahon, Milan Mrkusich, Ross Ritchie, Greer Twiss, Tim Garrity. Illustrated throughout with work by the artists, introductory essay by Hamish Keith, biographical information on each artist, including exhibition chronologies. Catalogue lists 40 works executed in the years just prior to 1966 when the exhibition was held.
Good copy with age/tanning.
English / German
Softcover (+ CD), 188 pages, 18 x 18 cm
1st Edition, Out of print title / as new
Published by
Errant Bodies / Berlin
Smart Art Press / Michigan
$70.00 - Out of stock
First English edition, long out-of-print. CD included.
Site of Sound is an anthology focusing on current trends in experimental music, sound art and audio theories, featuring writings, visual works, interviews and artist projects by leading experimental composers, sound-artists, and architects whose work concerns itself with architectural and acoustic space, sound sculpture, field/environmental investigation and recording, and site-specificity. Complementing this are theoretical, fictional and diaristic writings by contemporary authors, cartographers and ecologists."—publisher's statement.
Edited by Brandon LaBelle and Steve Roden. Artists and contributors include Alison Knowles, Achim Wollscheid, Jalal Toufic, Hildegard Westerkamp, Phillip Corner, Christina Kubisch, Giancarlo Toniutti, Jake Tilson, Brandon LaBelle, Rolf Julius, Leif Elggren, CM von Hausswolff, Steve Peters, Ralf Wehowsky, David Dunn, Christof Migone, Loren Chasse, Moniek Darge, Michael Brewster, Max Eastley, Tim Robinson, Steve Roden, Rupert Loydell, Tom Marioni, Pierre Koenig, the Stalacpipe Organ at Luray Caverns, WrK, Minoru Sato, Toshiya Tsunoda, and Jio Shimizu. Includes audio CD featuring many of the featured works.
As New.
1999, German
Softcover + CD, 230 pages, 20.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Wien / Vienna
$30.00 - In stock -
First edition w. CD, published in 1998 to accompany the exhibition Crossings – Art to Hear and See, Kunsthalle Wien, curated by Cathrin Pichler and Edek Bartz. "CROSSINGS" is about the meeting of music and visual arts. An encounter that was expressed in many facets and forms in the 20th century, featuring works by: Mario Airò, Richard Artschwager, Jean-Michel Basquiat, Joseph Beuys, Angela Bulloch, John Cage, Henning Christiansen, Martin Creed, Jeremy Deller, Stan Douglas, Daniel Egg, Angus Fairhurst, Jochen Gerz, Douglas Gordon, Franz Graf, Dan Graham, Henrik Hakansson, Russel Haswell, Carl Michael von Hausswolff, Dick Higgins, Gary Hill, Noritoshi Hirakawa, Arto Lindsay, Stephan von Huene, Lee Jaffe, Mike Kelley, Jon Kessler, Milan Knízák, Bernhard Leitner, Hans-Peter Litscher, Christian Marclay, Charles Long, Alvin Lucier, Paul D. Miller aka DJ Spooky that Subliminal Kid, Bruce Nauman, Max Neuhaus, Flora Neuwirth with Olga Neuwirth & NICJOB, Yoko Ono, Albert Oehlen, Nam June Paik, Paul Panhuysen, Michelangelo Pistoletto, Stephen Prina, Alan Rath, Gerwald Rockenschaub, Sarkís, Christoph Steinbrener, Wolfgang Stengel, Ned Sublette, Lawrence Weiner, Peter Weibel.
Very Good with audio CD featuring many of the artists above.
2016/2017, Japanese
2 softcover publications (staple-bound), 26 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Vanilla Gallery / Tokyo
$120.00 - Out of stock
Rare 2 volume catalogue from the first exhibitions of Serial Killer Art at Vanilla Gallery, Ginza, Tokyo, in 2016 and 2017, from the HN collection. From John Wayne Gacy, Ed Gein, Ted Bundy, Henry Lee Lucas, and Ronnie Clay, these exhibitions featured artworks, self-portraits, letters, and documents of serial killers in Europe and America whose heinous personalities and numerous crimes have served as models for novels and films, becoming known the world over.
"The world portrayed by murderers who committed crimes that make you want to look away is like a dreadful, lonely, impermanent feeling that looks into the depths of the viewer's heart, and is like when confronted with something unknown. It's full of tension."
Collected by Mr. HN (H. Nakajima), over 200 items were displayed in Tokyo on the occasion of these exhibits, with these pamphlets available at the exhibitions only. Illustrated with examples throughout in colour and b/w, texts in Japanese by film critic Kiichirō Yanashita, Orihara Ichi, and collector/curator H. Nakajima.
Killers included in the exhibitions: John Wayne Gacy, Henry Lee Lucas, Peter Sutcliffe, Danny Rowling, Keith Jasperson, James Earl Ray, Thomas Pitera, Henry Hill, Nicholas Crowe, Dorothy Puente, Haddon Clarke, Gerald Shaffer, Anthony Shore, James Munro, Gary Ray Balls, Hudson Graham, Carroll Bundy, Otis Toole, Charles Watson, Lawrence Bittaker, Herbert Mullin, Arthur Shawcross, Rod Ferrell, Ted Bundy, Jim Jones, Christa Pike, Harvard Baumeister, David Berkowitz, Richard Ramirez, Ronnie Clay, Irene Wuornos, Wayne Low, Dana Sue Gray, Roy Norris, Kenneth Bianchi, Michael Alig, Veronica Compton, Joe Roy Metheny, Gary Heidnik, Charles Manson, Jeremy Jones, Jack Trawick, Carl Drew, Wayne Harton, Rosemary West, Theodore Kaczynski, Thomas Heyer, Ed Gein, Ferrell Mykers, Douglas Clark, Richard Clarey, Ian Brady, Jack Kevorkian, Bonnie & Clyde, Philip Jacobinski, Daniel Siebert, Tommy Lynn Sells.
Very Good with only light wear.
1973 / 1997, English
Softcover, 280 pages, 173 x 213 cm
Out of print title / used / good
Published by
University of Chicago Press / Chicago
$70.00 - Out of stock
“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or 'dematerialized.'”—Lucy R. Lippard, Six Years
In 1973 the critic and curator Lucy R. Lippard published Six Years, a book with possibly the longest subtitle in the bibliography of art: The dematerialization of the art object from 1966 to 1972: a cross-reference book of information on some esthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, and symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones) edited and annotated by Lucy R. Lippard. Six Years, sometimes referred to as a conceptual art object itself, not only described and embodied the new type of art-making that Lippard was intent on identifying and cataloging, it also exemplified a new way of criticizing and curating art. The result is a book with the character of a lively contemporary forum that offers an invaluable record of the thinking of the artists—a historical survey and essential reference book for the period. Lippard provides a new preface to this 1997 reprint edition.
Includes: Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Joseph Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young
"Essential source book of documentation of the Conceptual Art, Land Art, Earth Art, Arte Povera, Minimal Art, Performance Art, Video Art movements. Documents the activities, day by day, month by month, year by year of artists including Vito Acconci, Bas Jan Ader, Dennis Adrian, Carl Andre, Eleanor Antin, Keith Arnatt, Art-Language, Richard Artschwager, Michael Asher, David Askevold, John Baldessari, Robert Barry, Frederick Barthelme, N.E. Thing Co., Josef Beuys, Mel Bochner, Alighiero Boetti, Stanley Brouwn, Daniel Buren, Victor Burgin, Donald Burgy, Ian Burn, Jack Burnham, James Lee Byars, Hanne Darboven, Agnes Denes, Jan Dibbets, Peter Downsbrough, Gerald Ferguson, Rafael Ferrer, Barry Flanagan, Gilbert & George, Dan Graham, Guerrilla Art Action Group, Hans Haacke, Charles Harrison, Michael Heizer, Douglas Huebler, Peter Hutchinson, Stephen Kaltenbach, Allan Kaprow, On Kawara, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Richard Long, Lee Lozano, Bruce McLean, Walter de Maria, Robert Morris, Bruce Nauman, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Adrian Piper, Michelangelo Pistoletto, Sigmar Polke, Mel Ramsden, Allen Ruppersberg, Edward Ruscha, Robert Ryman, Gerry Schum, Richard Serra, Willoughby Sharp, Seth Siegelaub, Tony Smith, Robert Smithson, Michael Snow, Keith Sonnier, Athena Tacha Spear, Bernar Venet, Wolf Vostell, Franz Erhard Walther, William Wegman, Lawrence Weiner, William Wiley, Ian Wilson, La Monte Young and others. "The unusual form of this provocative book intentionally reflects the chaotic network of ideas connected with so-called conceptual art or information art or idea art, in America and abroad, from 1966 to 1972. Arranged as a continuous bibliographical chronology, into which is woven a rich collection of original documents - including texts by, and taped discussions with and among, the artists involved - and annotations by Lucy R. Lippard, the book has the informal quality of a lively contemporary forum. Only a minimum of order is imposed; for the most part the reader is left to confront the curious compendium of information on his or her own, to follow changing ideas and artistic developments over the six-year period, to witness the gradual (and controversial) "dematerialization" of the art object." -- publisher's statement."
Good—Very Good copy with general light shelf wear and tanning to spine.