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—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1967 / 1974, English
Softcover (french-fold boards), 76 pages, 26.5 x 19 cm
1st Edition, Out of print title / used / fine
Published by
John Weatherhill / Tokyo
$290.00 - In stock -
Rare 1974 English edition of the first 1967 edition of Young Samurai: Bodybuilders of Japan, which was planned, designed and produced by John Weatherhill publishers in Tokyo in both Japanese (with original Japanese title "Taido (The Way of the Body)") and English language editions, preceding the more common Grove Press US re-print of 1967.
Japanese physique photography by one of Japan’s most noted photographers of homoerotic imagery, Tamotsu Yatō. For this celebrated collection of bodybuilding photographs, novelist Yukio Mishima not only contributed the introduction, in which he describes this as “the first collection of photographs of Japanese bodybuilders ever published”, but also modelled for some of the most memorable photographs. This was Yatō's first photo book.
"…for the past ten years and more there has been a group of young men in Japan who, privately, sweating silently, and with barbells for companions, have developed sturdy, well-proportioned physiques such as earlier Japanese never imagined even in dreams. The present book is eloquent testimony to their success. As the well-known essayist Michio Takeyama has written, it is amazing how faithfully the bodies of Japanese youths conform to the aesthetic standards of ancient Greece, and I am reminded of Lafcadio Hearn's having called the Japanese 'the Greeks of the Orient.'"
Includes an essay by Hitoshi Tamari, Managing Director of the Japan Bodybuilding Association.
Near Fine copy, beautifully preserved copy of the original publisher's English edition, printed in Japan.
1972, German
Softcover, 96 pages, 28 x 205 cm
1st Edition, Out of print title / used / good
Published by
Heyne Verlag / Münich
$35.00 - Out of stock
Wonderful 1972 German book of erotic art selected by Phyllis and Dr. Eberhard Kronhausen, rightly considered international experts in the field. "Their exhibition "Erotic Art," which has been shown in many countries around the world, formed the basis for this illustrated volume. Because this exhibition included loans from museums and galleries, as well as works from the Kronhausen couple's collection and other private collections, it was possible to present images that had previously been inaccessible to the public. In selecting works for this volume, care was taken, on the one hand, to depict these unknown works, and, on the other, to provide a reliable overview of the erotic work of the leading artists (painting, graphic art, and sculpture) of our century. Thus, this book is a fortunate exception; it is a precious document, but also a demonstration of the sexual and cultural revolution of our century."
Features the work of Franz von Bayros, Hans Bellmer, Marc Chagall, Lovis Corinth, Salvador Dali, Paul Delvaux, Otto Dix, J. Dubuffet, Max Ernst, Ernst Fuchs, Willi Geiger, George Grosz, Horst Janssen, Allen Jones, Gustav Klimt, Felix Labisse, Jan Lebenstein, Edward Munch, Claes Oldenburg, Pablo Picasso, Herbert Rauschenberg, George Segal, Max Walter Swanberg, Tomi Ungerer, Andy Warhol, Tom Wesselmann.
Good—VG copy with some laminate seperation to cover extremities and slight corner bump.
2003, English
Softcover, 80 pages, 30 x 23 cm
Out of print title / as new
Published by
Janssen Verlag / Berlin
$180.00 - In stock -
As New copy of the long out-of-print 2003 edition of The Art of George Quaintance, the first comprehensive art book survey of George Quaintance's work, first issued in 1990. Profusely illustrated throughout with beautiful reproductions of Quaintance's stunning homo-erotic artworks and book illustrations, alongside many press clippings, magazine articles, advertisements for Studio Quaintance, texts in English and German by George Quaintance, Volker Janssen, and Tora Lillstrom. George Quaintance (1902—1957) was an important Arizonan American artist, famous for his "idealized, strongly homoerotic" depictions of men in mid-20th-century physique magazines, such as the influential Physique Pictorial. Using historical settings and folklore such as the Wild West, or the mythology of ancient Greece and Rome, George Quaintance distanced his subjects from modern society, his world of legends made glorious with muscular, semi-nude or nude male figures, helping establish the stereotype of the homosexual "macho stud". A pioneer of a gay aesthetic, George Quaintance's work would influence many later homoerotic artists, including, most notably Tom of Finland.
Fine-As New copy.
2025, English
Softcover, 96 pages, 20.3 x 14.6 cm
Published by
Nightboat Books / New York
$35.00 - In stock -
"Wojnarowicz is a spokesman for the unspeakable."—New York Magazine
David Wojnarowicz, one of the most provocative artists of his generation, explores memory, violence, and the erotism of public space-all under the specter of AIDS. Here are David Wojnarowicz's most intimate stories and sketches, from the full spectrum of his life as an artist and AIDS activist.
Four sections-
"Into the Drift and Sway,"
"Doing Time in a Disposable Body,"
"Spiral," and
"Memories that Smell like Gasoline"-
are made of images and indictments of a precocious adolescence, and his later adventures in the streets of New York. Combining text and image, tenderness and rage, Wojnarowicz's Memories that Smell like Gasoline is a disavowal of the world that wanted him dead, and a radical insistence on life.
The new and revised edition features a foreword by Ocean Vuong and a note from the editor, Amy Scholder.
"Sick, like voiceover for dark version of My Own Private Idaho."—Charlie Fox
David Michael Wojnarowicz was an accomplished artist, writer, and activist, born September 14, 1954. He came to prominence in New York in the 1980s, part of a cohort of East Village artists including Nan Goldin, Kiki Smith, Karen Finley, and Peter Hujar. His work—from the graffiti that first brought him recognition in his teens to the photography and films produced before his AIDS-related death at the age of thirty-seven—center his experience on the margins of American society. His multi-media artworks and political advocacy were the focus of a Whitney retrospective, which named both as signs of his “radical possibility.”
1994, Japanese
Softcover, 210 pages, 15 cm x 21 cm
1st Edition, Out of print title / used / very good
Published by
Tom Shobo / Japan
$120.00 - Out of stock
The rare inaugural issue of Too Negative (No. 1 October 1994). Now rare and highly collectible, Too Negative, the "Forbidden Picture Book", was a visceral and visually explosive glossy cult arts magazine that reflected the gory-depraved-beyond salvation-bad taste expressions visible in international subculture at the height of 1990s underground publishing, a time when art was pushing the limits of taste and morality. Edited solely by legendary Japanese publisher and gallery owner Kotaro Kobayashi and published by Tom Publication Inc. between 1994—2000, each thick, glossy volume takes on the aesthetics of a vibrant fashion magazine in the great Japanese "mook" format (the magazine book) packed cover to cover with themes of Eros and Thanatos, such as fetishism, erotica, medical/autopsy photography, death journalism, Japanese bondage, grotesque and neo-surrealist art, crime scene photography, tattooing/irezumi, piercing, and all things of the mondo, macabre, bizarro realm. Frequent collaborators and featured artists were Kiyotaka Tsurisaki, Joel-Peter Witkin, Trevor Brown, Kiyoshi Ikejiri, to name a few. With a Japanese publishing lineage that may be found in earlier bounding-pushing periodicals such as the 1920s erotic grotesque magazine Hentai Shiriou (Pervert Documents), Tasuhiko Shibusawa’s incredible 1960s avant-garde journal Le Sang Et La Rose, or Fiction Inc’s SALE2 journal published from 1980—mid 1990s, Too Negative, and affiliated periodicals such as ORG, Spiral, Schizo, etc. took their subjects to another level of extremism, even by Japanese standards.
Not for the faint hearted.
This issue, Too Negative No. 1 October 1994, features the corpse/death photography of Kiyotaka Tsurisaki, fetish photography of Kiyoshi Ikejiri, Trevor Brown artwork, AIDS body theory by Keiji Nakayama, SM photography by David Pearson, Japanese big girl nude portraits by photographer Yurie Nagashima, Yasumasa Yonehara photography, hermaphrodite masterbation, antique Japanese hermaphrodite genital studies and various early medical drawings, erotic assemblage, medical/anatomy photography, you name it.
Very Good copy.
1991, Japanese
Softcover, unpaginated, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$150.00 - In stock -
Stunning special ocer-sized edition of the great SALE2 periodical from Tokyo Japan, dedicated to the theme of Bondage Fantasy. With cover design by Tadanori Yokoo and design by Makoto Ohrui and edited by Japanese novelist Mari Akasaka, this 1991 volume is profusely illustrated throughout showcasing the erotic illustration and photography of artists John Willie, Irving Klaw, Eric Stanton, ENEG, Jim, Bill Ward, Jay, Tealdo, Europa, Gilles Berquet, Wolfgang Eicher. Perfectly compiled in the way SALE2 did so well, with elegant scrapbook style, dense with imagery, blown-up, full-bleed reproductions from many publications, and although a primarily visual volume packed cover-to-cover with illustrations, it also features a number of interviews with the artists in Japanese. Highly recommended!
Published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. Each issue covers different themes and features, heavy on fetishism.
Mari Akasaka (b. 1964) is a Japanese novelist born in Suginami, Tokyo, and studied Politics in the Law Department at Keio University. In 1999 her novel Vibrator was nominated for the Akutagawa Prize, which was adapted into a 2003 film directed by Ryūichi Hiroki. She was again nominated for the Akutagawa prize in 2000 for her novel, Muse, and won the Noma Literary Prize for New Writers for the same novel.
Very Good copy, well preserved.
1972, Japanese
Softcover, 250 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Misaki Shobo / Tokyo
$70.00 - In stock -
Erotica April 1972, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. Each issue densely packed with illustrations, articles, news, and feature stories around the universe of Eros from around the world during a time of great sexual revolution. Covering all manner of sexual customs and subject matter from the arts and literature, film and manga, philosophy and radical politics, Erotica was Japan's leading erotic academic journal, featuring, amongst it's heavy historical and contemporary papers, the cutting-edge of Japanese and international erotic artists, from Hans Bellmer to Toshio Saeki.
Erotica April 1972 features the artwork of Toshio Saeki, Kyozo Hayashi, Koaku Yukio, Kaname Ozuma, "Alone" by Japanese photographer Takumi Uchida, Meiji sexual history, erotica by poet and painter Mitsuharu Kaneko, European erotic cinema, and much more.
Very Good copy, light wear.
1970, Japanese
Softcover, 250 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Misaki Shobo / Tokyo
$70.00 - In stock -
Erotica July 1970, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. Each issue densely packed with illustrations, articles, news, and feature stories around the universe of Eros from around the world during a time of great sexual revolution. Covering all manner of sexual customs and subject matter from the arts and literature, film and manga, philosophy and radical politics, Erotica was Japan's leading erotic academic journal, featuring, amongst it's heavy historical and contemporary papers, the cutting-edge of Japanese and international erotic artists, from Hans Bellmer to Toshio Saeki.
Erotica July 1970 features the artwork of Toshio Saeki, Haruo Shinozaki, Masayuki Kitamura, Tomoe Shibaoka, "Pornology" by Japanese photographer Toyohiko Yasui, Swedish erotica, European erotic cinema, Pleasure Machines/Mechanical Sex featuring artworks by Tomi Ungerer and science fiction with illustrations by Yasutaka Tsutsui, the psychology of premajure ejaculation, and much more.
Very Good copy, light wear.
1970, Japanese
Softcover, 250 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Misaki Shobo / Tokyo
$50.00 - In stock -
Erotica February 1970, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. Each issue densely packed with illustrations, articles, news, and feature stories around the universe of Eros from around the world during a time of great sexual revolution. Covering all manner of sexual customs and subject matter from the arts and literature, film and manga, philosophy and radical politics, Erotica was Japan's leading erotic academic journal, featuring, amongst it's heavy historical and contemporary papers, the cutting-edge of Japanese and international erotic artists, from Hans Bellmer to Toshio Saeki.
Erotica February 1970 features the artwork of Hans Bellmer, Aoi Fujimoto, George Grosz, and Haruo Shinozaki, amongst many others, a "blue film encyclopedia", European erotic film, the Temptation of Saint Anthony in the visual arts, and much more.
Very Good copy, light wear.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$70.00 - In stock -
Rare first May 1971 (w. Ken Katayama cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
This scarce first issue with incredible cover by Japanese illustrator Ken Katayama, features work/contributions by author Izumi Suzuki, film director Michio Okabe, artist Genpei Akasegawa, critic Junzo Ishiko, author Boris Vian, film director Eiichi Uchida, film critic Jin'ichi Uekusa, manga artist Shotaro Ishinomori, author Mieko Kanai, music critic Masaaki Hiraoka, artist Koichi Tanigawa, manga artist Shigeru Sugiura, graphic designer Mad Amano, doll artist Shimon Yotsuya, illustrator G. Akechi, art critic Junzo Ishiko, art critic Yoshida Yoshie, film director Toshio Matsumoto, graphic artist Keiichi Tanaami, author Koji Suzuki, artist Toshio Saeki, manga artist Shigeru Mizuki, manga artist Mori Masaki, manga artist Mitsuhiko Yoshida, artist Tsunehisa Kimura, playwright Jūrō Kara, and many more.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$65.00 - In stock -
June 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
August 1971 (w. Hiroshi Nakamura cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
September 1971 (w. Seiichi Hayashi cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$65.00 - In stock -
November 1971 (w. Kikuji Yamashita cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
January 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
October 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$45.00 - In stock -
April 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1987, Japanese
Softcover, 168 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$80.00 - Out of stock
Issue No.30 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.30, the "Special Issue" features Hans Bellmer, Leonor Fini, Richard Cerf, Gilles Deleuze, Michel Foucault, Paul Wunderlich, Robert Maplethorpe, Andy Warhol, Man Ray, Lewis Carroll, John Willie, Bernard Montorgueil, Guido Crepax, Van Rod, Carlo, Betty Page, Tealdo, clippings from periodicals such as Amateur Bondage, Bondage Life, Bondage Fantasies, Bizarre Comix, Bizarre Classix, Bizarre Fotos, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy with tanning to pages.
2003, Japanese
Softcover, 160 pages, 24 x 18 cm
1st Edition, Out of print title / used / fine
Published by
Atelier Peyotl / Tokyo
$60.00 - Out of stock
"Gothic" Special Feature Issue of cult Japanese underground magazine Yaso, published in 2003, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese with in-depth profiles, interviews with and essays on Trevor Brown, Gottfried Helnwein, Kuniyoshi Kaneko, ero-manga master Keizo Miyanishi, influential Gothic Lolita illustrator Mitsukazu Mihara, Floria Sigismondi, Marilyn Manson, Alice Auaa, loads of "Modern Primitive" material (piercing, body modification, body performance, etc.), and much more...
Near Fine copy.
1953, Japanese
Softcover, 334 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Tokushu Publishing / Tokyo
$90.00 - Out of stock
Very rare copy of 1953 special "Secret" edition of Fuzoku Soushi, one of the first Japanese Kinbaku/SM magazines to exist, alongside Yomikiri Romance and Kitan Club, edited by Nomura Yoshihide, Ujiie Fura, and Murata Kiyoshi and first published in 1953 to only last one year before authorities put an end to it. Features a full-colour fold-out artwork by legendary Japanese fantasy artist Ayako Nakagawa. Fuzoku Soushi, which was adorned with a series of gorgeous painted covers by master artist Ran Akiyoshi, was a strong rival to Kitan Club, but with a more lavish production, pronounced artwork galleries by many of the leading SM illustrators and very progressive fictional and critical content on all manner of sexual perversions and customs, contemporary, historical, political, including roundtable discussions between people of all walks of cultural life (from medical doctors to Buddhist scholars) to original Japanese erotic fiction and translations of many Europeans stories and essays. Fuzoku Soushi was also heavy with lesbian and male homosexual content and featured female authors.
Fuzoku Soushi featured a remarkable cast of artists and writers, including Seiu Ito, Ran Akiyoshi, Takahashi Tetsu, Matsui Ryōko, Toshiyuki Suma, Ayako Nakagawa, Reiko Kita (Suma Toshiyuki), Hideo Furusho, Tamaki Kitahara, Yanome Genichi, Kazuhiko Kabiya, Eizo Nakano, Yo Masaoka, Tosuke Takeno, Imao Hirano, Hiroshi Hara, Nobuo Sakanoue, Shigeru Kayama, to name a few. Packed with expressive sadism, masochism, fantasy and perversion in the form of brilliant paintings, photography, illustrations, articles, fiction, Fuzoku Soushi, in its brief and controversial lifespan, became one of the most influential SM magazines ever published.
Good—VG copy with some wear to extremities, tanning, minor closed tears to cover edges, but with the full-colour Ayako Nakagawa fold-out painting present.
2025, English
Softcover, 460 pages, 26 x 20.3 cm
Published by
Primary Information / New York
$85.00 - Out of stock
Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of the Queer Black music and art scene in the early 1990s. Ford and his editors were part of the burgeoning House music scene, which originated in Chicago’s Queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles, Gemini, Larry Heard, Rupaul, and Deee-Lite. THING published ten issues from 1989-1993, before it was cut short by Ford’s death from AIDS-related illness. All ten issues of THING are collected and published here for the first time.
As House music thrived, THING captured the multidisciplinary nature of the scene, opening its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The HIV/AIDS crisis loomed large in its contents, particularly in the personal reflections and vital treatment resources that it published. An essay by poet Essex Hemphill was published alongside the gossip columnist Michael Musto and Rupaul dished wisdom alongside a diary from the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation. Joan Jett Blakk’s revolutionary presidential campaign is contained in these pages, as are some of the most underground, influential literary voices of the time, such as Dennis Cooper, Vaginal Davis, Gary Indiana, Marlon Riggs, David Wojnarowicz, and even David Sedaris.
THING was very much in dialogue with the club kids in New York and other Queer publishing ventures, but in many ways, it fostered an entirely unique perspective—one with more serious ambitions. In a moment when the gay community was besieged by the HIV/AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply-produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club culture that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community and understood the fleetingness of its moment. To reencounter this work today, is to reinstate the Black voices who were so central to the history of HIV/AIDS activism and Queer and club culture, but which were often sidelined by white Queer discourse. In many ways, THING offered a blueprint for the fundamental role a magazine plays in bringing together a community, its tagline summing up the bold stakes of this important venture: “She Knows Who She Is.”
The magazine included contributions from Trent D. Adkins, Joey Arias, Aaron Avant Garde, Ed Bailey, Freddie Bain, Basscut, Belasco, Joan Jett Blakk, Simone Bouyer, Lady Bunny, Bunny & Pussy, Derrick Carter, Fire Chick, Chicklet, Stephanie Coleman, Bill Coleman, Lee Collins, Gregory Conerly, Mark Contratto, Dennis Cooper, Dorian Corey, Ed Crosby, The Darva, Vaginal Davis, Deee-Lite, Tor Dettwiler, Riley Evans, Evil, The Fabulous Pop Tarts, Mark Farina, Larry Flick, Robert Ford, Scott Free, David Gandy, Gemini, Gabriel Gomez, Roy Gonsalves, Chuck Gonzales, Tony Greene, André Halmon, Lyle Ashton Harris, Larry Heard, Essex Hemphill, Kathryn Hixson, Sterling Houston, Ishmael Houston-Jones, Gary Indiana, Candy J, Jamoo, Jazzmun, Gant Johnson, Owen Keehnen, Lady Miss Kier, Spencer Kincy, Iris Kit, Erin Krystle, Steve LaFreniere, Larvetta Larvon, Marc Loveless, Lypsinka, Malone, Marjorie Marginal, Terry A. Martin, Rodney McCoy Jr., Alan Miller, Bobby Miller, Michael Musto, Ultra Naté, Willi Ninja, Scott “Spunk” O’Hara, DeAundra Peek, Earl Pleasure, Marlon Riggs, Robert Rodi, Todd Roulette, RuPaul, Chantay Savage, David Sedaris, Rosser Shymanski, Larry Tee, Voice Farm, Lawrence D. Warren, Martha Wash, LeRoy Whitfield, Stephen Winter, David Wojnarowicz, and Hector Xtravaganza.
Managing Editors: James Hoff and Sam Korman
Designer: Rick Myers
Copy Editor: Allison Dubinsky
2025, English
Softcover, 89 pages, 18.8 x 14.8 cm
Published by
Pilot Press / London
$38.00 - Out of stock
"All history will seem vain, insofar as it's the work of madmen. Mad was Adolpha mad Josepha mad the American elite.
Mad theology mad churches mad champions of ideologies and churches that blackmail good and stupid normal people mad revolutionaries with their righteous bourgeoise thinking who continue to be simple depositaries of the monastic blackmailing of man."
Pilot Press is delighted to present the publication of Derek Jarman's unrealised film treatment, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights (1984).
Jarman’s treatment takes as its subject matter the events leading up to and including the 1975 murder of the Italian film director, Pier Paolo Pasolini, following the making of his controversial last film Saló, or the 120 Days of Sodom (1975).
The setting of the film takes as its inspiration the Dutch renaissance painter Hieronymus Bosch’s triptych The Garden of Earthly Delights (1490-1500), a painting that depicts both the joys and dangers of temptation, and which Jarman encountered on a visit to the Museo de Prado in Madrid the year he began working on the project.
For the first time, the final draft of the film’s treatment is presented alongside reproductions from the film’s workbook, which show Jarman’s calligraphic notes towards the film’s sequences, themes, cinematography, lighting, sound, costume, casting and props.
The year 2025 marks fifty years since Pasolini's murder and thirty-two since Jarman’s death due to AIDS. Against a backdrop of funding cuts to the arts and the arrival of the HIV/AIDS epidemic that vanished away so many important artists and visionaries, The Assassination of Pier Paolo Pasolini in the Garden of Earthly Delights is a powerful elegy to the decadence of queer cinema and the tragedy of its last auteur.
Derek Jarman was one of the most influential British artists of the twentieth century. His practice, as diverse as it was prolific, spanned painting, sculpture, film, writing, stage design, gardening and activism. He was an outspoken campaigner for LGBTQIA+ rights, and was one of the first public figures in the UK to raise awareness for those living with HIV/AIDS, announcing his own HIV diagnosis on the radio in 1986.
2024, English
Softcover, 260 pages, 19 x 15 cm
Published by
Pilot Press / London
$50.00 - In stock -
A Garden Manifesto gathers radical visions rooted in the earth from artists, writers, gardeners and activists, among them Lubaina Himid, Derek Jarman, Jamaica Kincaid, Ana Mendieta, Dan Pearson and Wolfgang Tillmans. It’s a seed box for an uncertain future, packed with anarchic dreams of Eden-making and humming with resistance to the colonial project of homogenisation and destruction.
Featuring William Blake, Joe Brainard, Jonny Bruce, John Clare, Gerry Dalton, Ellen Dillon, Baha Ebdeir, Alys Fowler, Magdalena Suarez Frimkess, Gaylene Gould, Green Guerillas, Joy Gregory, Fritz Haeg, Lubaina Himid, Philip Hoare, Rosie Hudson, Derek Jarman, Chantal Joffe, Laura Joy, Jamaica Kincaid, Elisabeth Kley, Olivia Laing, Jeremy Lee, Siobhan Liddell, Alison Lloyd, Hilary Lloyd, Jo McKerr, Lee Mary Manning, Ana Mendieta, Bernadette Mayer, Rosemary Mayer, Huw Morgan, Eileen Myles, Hussein Omar, Palestinian Heirloom Seed Library, Ian Patterson, Dan Pearson, Jean Perréal, Charlie Porter, Pat Porter, J. H. Prynne, Claire Ratinon, Jamie Reid, Lisa Robertson, Kuba Ryniewicz, Saadi, Sui Searle, Sei Shōnagon, Colin Stewart, Tabboo!, Edward Thomasson, Wolfgang Tillmans, Scott Treleaven, John Wieners, David Wojnarowicz, Matt Wolf and Sarah Wood
2022, English
Hardcover, 352 pages, 20.3 x 14 cm
Published by
The Visible Press / London
$65.00 - Out of stock
The independent British film journal Afterimage published thirteen issues between 1970 and 1987. International in scope, it surveyed the many forms of radical cinema during an extraordinary period of film history. Having emerged in the wake of post-1968 cultural and political change, Afterimage charted contemporary developments with special issues on themes such as the avant-garde, Latin American cinema and visionary animation, and also looked back at early film pioneers. It published many of the leading critics of the period and vitally provided a forum for filmmakers’ writings and manifestos.
This indispensable collection includes texts by scholars Noël Burch, Roger Cardinal, B. Ruby Rich and Peter Wollen, filmmakers Jean Epstein, Jean-Luc Godard, Derek Jarman and Jan Švankmajer, plus extended interviews with Hollis Frampton and Raúl Ruiz, and more.
The Afterimage Reader is edited by Mark Webber and features new contributions from two of the journal’s editors, Simon Field and Ian Christie.