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
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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.
1973, English
Softcover, 96 pages, 18.5 x 18 cm
1st Edition, Out of print title / used / fine
Published by
Art Gallery of New South Wales / Sydney
$45.00 - In stock -
Catalogue published on the occasion of the major exhibition "Recent Australian Art" held at Art Gallery of New South Wales, Sydney, 18 October-18 November 1973, featuring new work (created between 1970-1973) by close to 50 Australian artists, including many of 'The Field' artists. Each exhibited artist is profiled with a photographic portrait, potted history and blck and white reproductions of their work. Includes a foreword by Peter Laverty, Director, Art Gallery of New South Wales, and introduction by Frances McCarthy and Daniel Thomas.
Artists: Robert Hunter, Mel Ramsden, Ian Burn, Dick Watkins, Robert Rooney, Aleks Danko, Ewa Pachuka, Ti Parks, John Firth-Smith, Robert Jacks, Tim Johnson, Robert Hunter, Victor K, Donald Laycock, Mike Parr, Peter Kennedy, Paul Partos, Nigel Lendon, Rollin Schlicht, Alberr Shomaly, Guy Frank Stuart, William Anderson, David Aspden, Jonas Balsaitis, Peter Booth, Robert Boynes, Mike Brown, Tim Burns, Gunter Christmann, William Delafield Cook, John Davis, Bill Clements, Tony Coleing, Ross Grounds, Dale Hickey, Ian Howard, Noel Hutchison, Tony Kirkman, Richard Larter, Donald Laycock, Tony McGillick, Alan Oldfield, John Peart, Peter Powditch, Ron Robert-Swann, Rollin Schlicht, Alberr Shomaly, Guy Stuart, Michael Taylor, Imants Tillers, Tony Tuckson.
VG—NF copy.
2006, German / English
Softcover, 72 pages, 30 x 24 cm
Out of print title / used / good
Published by
Secession / Vienna
Walther König / Köln
Galerie im Taxispalais / Innsbruck
$200.00 - Out of stock
Rare 2006 catalogue published on the occasion of the exhibition Isa Genzken at Galerie im Taxispalais, Innsbruck and Secession, Wien, by Walther Koenig. Profusely illustrated throughout with Genzken's works and installation views, accompanied by texts by Benjamin H.D. Buchloh, Manfred Hermes, Anette Freudenberger, Silvia Eiblmayr, and Barbara Holub in both English and German.
"For more than thirty years, Isa Genzken has been developing a versatile oeuvre, continually extending it by adding new aspects. Her settings, her unusual combinations of materials, and the fragile but monumental character of her constructions reflect the surrounding world and the fragility of human existence. Her work—which includes sculptures and installations as well as photography, collage, and film—explores the space between public claims and private artistic autonomy, thus defining an interface where the personal and the universal meet. The formal and conceptual rigor at the root of Isa Genzken’s approach is tempered by unrestricted freedom, producing works that can be interpreted and experienced on very different levels. A central role is played by the choice and combination of materials with different connotations which the artist finds at home depots, builders’ suppliers, and department stores: whereas in the past Genzken used wood, plaster, epoxy resins, and above all concrete, the material of Modernism, her main materials today are plastic, synthetics, and a wide range of mirrors, as well as everyday items and consumer goods such as chairs—design classics alongside cheap camping chairs—garments, and plastic dolls and animals.
For her exhibition in the Hauptraum at the Secession, Isa Genzken has devised an installation with new sculptures and pieces on the wall: wheelchairs and seats draped in various textiles, ribbons, and sheets, walking frames, anthropomorphic figures, and wall-filling collages made from mirrors, photos, and adhesive tape create a carefully arranged image. Warholesque baby dolls with their outsize glasses look like prematurely aged children or, conversely, like infantilized adults, waiting under tattered parasols on a Hollywood set for shooting to recommence. But less than this bizarre scene, what is disconcerting here is the cool precision with which, for all the piece’s figurativeness, no story is told. Dolls and animals form heterogeneous abstract surfaces, but they are not deployed to narrative ends, and neither are other materials such as the mirrors, plastic sheeting, or the paint dripped or sprayed over many of the sculptures.
The new works relate to Genzken’s recent Empire/Vampire series. But while these works were presented on plinths at eye level, at the Secession, the entire space turns into a kind of plinth and the visitors become part of this scenario that is both beguilingly beautiful and disturbing at the same time. The works turn an imaginary inner space outwards, but rather than being something merely invented, the space always refers to the real—a comparative moment against which all the pieces can be measured. In an interview with Wolfgang Tillmans, Isa Genzken describes the way she thinks a sculpture should look: “It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite. [...] Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”
Good copy, due to bumps/creases to corners and previous owners inscription to title page, otherwise a Very Good copy throughout.
1993, German
Softcover, 68 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Bremen / Bremen
$200.00 - Out of stock
Very rare, collectable artist's book / catalogue published on the occasion of a major solo exhibition of Isa Genzken, "Skizzen für einen Spielfilm", held at Kunsthalle Bremen, July - August 1993. Wonderful design with extensive text section in (mostly) German/(some) English, comprising of scenes/script excerpts/discussions between Genzken and Gerhard Richter, Dan Graham, Michael Hengsberg (gallerist Daniel Buchholz's then assistant), amongst others, followed by an image section of Genzken's previous exhibition installations, and closing with a text by art historian and exhibition curator Katerina Vatsella. Highly recommended.
Very Good copy with light wear.
2009, English
Hardcover (w. dust jacket), 360 pages, 21 x 26 cm
1st Edition, Out of print title / as new
Published by
Ediciones Polígrafa / Barcelona
$140.00 - In stock -
Since the mind-1960s, Dan Graham (Urbana, Illinois 1942) has produced an important body of art and theory that engages in a highly analytical discourse on the historial, social and ideological functions of contemporary cultural systems. He is a highly influential figure in the field of contemporary art, both as a practitioner of conceptual art and a well-versed art critic and theorist. Graham s work questions the relationship between people and architecture and the psychological effects it has on us. His work highlights the awkwardness that occurs when intimate moments or details are rudimentarily broadcast in an impersonal manner, as he continues to investigate the voyeuristic act of seening onself reflected, whilst at the same time watching others. This monograph analyzes his main works and collects some of seminal writings by the artist.
With a text by Alexander Alberro.
First English hardcover edition, now out-of-print.
2017, English / German
Hardcover, 144 pages, 24 x 30 cm
$70.00 - In stock -
Richard Serra is one of the most important contemporary sculptors and occupies a firm place in the art of the past 50 years, where he is already counted among the classics. This lavishly produced volume concentrates on Serra’s early works, the so-called “Props” or “Prop Pieces”, as well as works on film from the late 1960s and early 1970s.
Richard Serra (*1939) experimented at an early stage with industrial materials like rubber, neon and lead, and also with steel a little later. His treatment of them demonstrates power and sensitivity at the same time. He creates powerful sculptures, canvases and works on paper whose execution demonstrates a fine sense of spatial situations. The volume contrasts works including a selection of twelve “Prop Pieces” with the artist’s early films. In both work groups the main focus lies on the artistic action: the positioning, leaning and adjustment of the lead sheets Serra uses corresponds with the simple actions of his works on film.
Edited by Jörg Daur, Alexander Klar
Contributions by J. Daur, P. Forster, M. Nieslony, S. von Berswordt-Wallrabe
1983, English / Japanese
Softcover, 36 pages, 27 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Akira Ikeda Gallery / Tokyo
$120.00 - In stock -
Very rare Richard Serra catalogue published on the occasion of his Japanese solo exhibition 'New Sculpture' at Akira Ikeda Gallery, Tokyo, June 6-July 30, 1983. This handsome publication, rather than illustrating the exhibited works, surveys many of Serra's works spanning 1969-1983, illustrated in full-page monochrome throughout, and accompanied by introduction by author, architect, and Master of Architecture Yale University, Maki Kuwayama, portrait of the artist, list of works, biography, bibliography, exhibition list. All texts in English and Japanese.
Richard Serra (b. 1938) is an American artist commonly associated with Minimalism and the Process Art movement. Though perhaps best known for his monumental works made from industrial steel, Serra has also worked extensively in painting and printmaking. After attending the University of California, Berkeley, he earned his MFA from Yale, where he became friends and collaborators with classmates such as Frank Stella, Chuck Close and Nancy Graves, to whom Serra was married for five years. Later working in New York, Serra was inspired by Minimalist contemporaries such as Carl Andre and Sol LeWitt, who valued the work of creation more than the finished artwork itself.
Serra’s work is installed permanently at the Guggenheim Bilbao, and can also be found in the collections of Dia:Beacon, the San Francisco Museum of Modern Art and the Tate, London.
Very Good copy, only light tanning to spine, otherwise fine throughout.
2018, English
Hardcover, 160 pages, 23 x 27.1 cm
Published by
The Renaissance Society / Chicago
$120.00 - In stock -
Over a fifty-year career, Robert Grosvenor has produced a body of work that is at once solidly physical and conceptual, muscular and fluid. Grosvenor frequently uses industrial materials and found objects as he experiments with texture and scale, resulting in sculptures that reveal a handmade quality and subtle vein of humor.
In 2017, the Renaissance Society presented an exhibition of the sculptor's untitled work from 1989 to 1990. Re-contextualized within a spare architectural installation, this assemblage of materials and found objects eludes interpretation at the same time as it asserts its form and construction. Such nuances, combined with its ambiguous scale, evoke what critic John Yau has suggested is the labor of an "anonymous worker." Grosvenor has made significant contributions as a sculptor over the past fifty years, but relatively few books have been published about his work. This monograph documents the Renaissance Society show and also features new scholarship considering Grosvenor's work with a broad scope. The text includes contributions by Yves-Alain Bois, Bruce Hainley, Susan Howe, John Yau, and Renaissance Society executive director and chief curator Solveig Ovstebo.
2020, English
Hardcover, 120 pages, 19.3 x 23.6 cm
Published by
Karma / New York
Galerie Max Hetzler / Berlin
$110.00 - In stock -
Between art, engineering and architecture: recent works by Robert Grosvenor
This new hardcover monograph on Robert Grosvenor (born 1937)—known for his large-scale architectural sculptures—accompanied his third solo exhibition at Karma, New York, and concurrent exhibition at Galerie Max Hetzler, Berlin, presenting recent works of sculpture alongside an essay by renowned curator and critic Bob Nickas.
Texts by Bob Nickas, Suzan Frecon, Rachel Kushner.
Robert Grosvenor (b. 1937, New York, NY) is an American sculptor and photographer known for his surreal captures of vernacular architecture and modernist retrofuturisms. Grosvenor’s monumental sculptures transform a bevy of mid-century technologies, structures, and cultural lores into simple, streamlined forms. These idiosyncratic forms challenge the sculptural conventions of weight, line, movement, and inertia. Grosvenor was included in the historic 1966 Primary Structures survey exhibition at the Jewish Museum, which famously introduced Minimalist art to a broader public. Although his work builds on the aesthetic program of Minimalism, Grosvenor playfully resists the cool austerity emblematic of the genre. Rather he explores the sensuousness of his materials and the nostalgic qualities of their color and design. Recent and forthcoming solo exhibitions include Karma, New York (2020); Galerie Max Hetzler, Paris (2020); Consortium Museum, Dijon (2020); Institute of Contemporary Art, Miami (2019); Paula Cooper Gallery, New York (2018); and the Renaissance Society, Chicago (2017), among others. Grosvenor’s work is represented in various public collections including the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Museum Boijmans-van Beuningen, Rotterdam; and the Direction Régionale des Affaires Rennes.
As the 2020 recipient of the Ezratti Family Prize for Sculpture, Grosvenor’s work will be featured at the Institute of Contemporary Art, Miami in the spring of 2021.
2008, English
Softcover, 489 pages, 15.3 x 22.8 cm
Published by
Zone Books / New York
$58.00 - Out of stock
Tony Conrad is exemplary of the 1960s artist who remains inassimilable to canonic histories. Creator of the “structural” film, The Flicker, collaborator on Jack Smith’s Flaming Creatures and Normal Love, follower of Henry Flynt’s radical anti-art, member of the Theatre of Eternal Music and the first incarnation of The Velvet Underground, and early associate of Mike Kelley, Tony Oursler, and Cindy Sherman, Conrad has significantly impacted cultural developments from minimalism to underground film, “concept art,” postmodern appropriation, and the most sophisticated rock and roll. Yet Beyond the Dream Syndicate does not claim Conrad as a major but under-recognized figure.
Rather, by drawing on Deleuzian notions of the “minor” and the Foucauldian problematization of authorship found in Conrad’s own artistic/musical project, Early Minimalism, it disperses him into an “author function.” Neither monograph nor social history, the book takes Conrad’s collaborative interactions as a guiding thread by which to investigate the contiguous networks and discursive interconnections amongst the arts of the time.
“A tour de force of both interpretative and historiographic acuity.”—Art Bulletin
2021, Japanese / English
Hardcover (with obi), 368 pages, 20 x 30 cm
Published by
Toyota Municipal Museum of Art / Aichi
$130.00 - In stock -
Beautiful hardcover catalogue published in Japan to the exhibition Beuys + Palermo touring three venues across Japan in 2021.
Joseph Beuys and Blinky Palermo were from different generations, but both experienced WWII and the postwar reconstruction, as teacher and pupil. One of the most important artists since World War II, Joseph Beuys (1921–1986) asserted that true capital lies in the creativity of human beings, and viewing the whole of society as sculpture, set out to change it. Beuys is also known for his role in nurturing numerous artists in his capacity as an educator. One such pupil was Blinky Palermo (1943–1977). The modest abstract works that form the legacy of this painter active for just a short few years from the mid-1960s up to his early demise, were an attempt to quietly overturn our perceptions, and social systems, via the visceral experience of color and form, all the while reconstructing the compositional elements of painting. The works of these two superficially contrasting German artists were alike in that both Beuys and Palermo endeavored to restore art to the status of a raw, live endeavor, Beuys indeed later acknowledging his former student to be the artist closest to himself. Composed primarily of works from the 1960s and ‘70s, documentation from the period and detailed texts, “Beuys + Palermo” explores the features of each of these two artists, while simultaneously searching for the latent power of their praxis in their involvement and overlap with each other.
2019, English
Paperback (w. corrugated board wrap), 212 pages, 21.1 x 25.9 cm
Published by
Hauser & Wirth / Zurich
$95.00 - Out of stock
Before or After, at the Same Time: Rome, Milan, and Fabio Mauri, 1948–1968 is a landmark publication from Hauser & Wirth Publishers exploring post-war Italian art through the cultural lens of remarkable 20th-century thinkers and artists. Discover the fascinating narrative of Fabio Mauri, an artist, writer, producer and intellectual, alongside the history of his family, a publishing dynasty which thrived on close connections to radical Italian art, poetry, cinema, philosophy and literature. Mauri’s story becomes a starting point from which to explore Italian visual culture, its influences and the defining ideas behind it. The title refers to Mauri’s statement: "I can’t stay in step with my time. I am either before or after it, at the same time." (Fabio Mauri, Ideology and Memory).
The social and political aftermath of the Second World War engendered two highly energetic pockets of creativity in the cities of Rome and Milan. Uncover a tale of these two cities, with Mauri—a multi-disciplinary artist who resisted categorisation—acting as the point of introduction to the artistic practices that emerged from each of these distinct cultural, economic and political scenes. The book examines and, in cases, re-examines the artistic milieu surrounding Mauri which included Carla Accardi, Franco Angeli, Enrico Baj, Alberto Burri, Alighiero Boetti, Enrico Castellani, Dadamaino, Piero Dorazio, Tano Festa, Lucio Fontana, Jannis Kounellis, Piero Manzoni, Gastone Novelli, Mimmo Rotella, Mario Schifano, Giulio Turcato and Cy Twombly.
Edited by Ben Eastham, the publication features essays and newly commissioned texts by Giorgio Agamben, Ilaria Bernardi, Barbara Casavecchia, Pierre Testard, Andrea Viliani and Laura Cherubini; an interview between Achille and Sebastiano Mauri discussing the enduring and near unbelievable family history; a historic article by Fabio Mauri "In 1960 the 1950s Were 10 Years Old," bringing his prescient character to life; never before published and translated letters between Silvana Mauri, Fabio’s eldest sister, and Pier Paolo Pasolini, the filmmaker, writer and poet expressing a remarkable intimacy and honesty
1987, English
Softcover (French-folds), 44 pages, 20 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Andre Emmerich Gallery / New York
$130.00 - In stock -
Rare and very handsome catalogue of American artist John McLaughlin's 'Paintings of the Fifties' published in 1987 by Andre Emmerich Gallery, New York. With an essay by Prudence Carlson, the catalogue features a stunning set of vivid spot-colour reproduction plates on gloss stock of McLaughlin's hard-edge abstracts, followed by a selected bibliography. A very handsome catalogue.
John Dwyer McLaughlin (1898 – 1976) was a highly pivotal and significant American abstract painter. Based primarily in California, he was a pioneer in minimalism and hard-edge painting.
Very Good condition, with National Gallery of Victoria library stamping to the book block edges and once to title page. Light discolouration from old stick to top-left cover, otherwise beautifully preserved copy.
1978, English
Softcover (staple-bound), unpaginated, 20 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Monash University Exhibition Gallery / Victoria
$60.00 - In stock -
Rare catalogue published on the occasion of the group exhibition, The Work and its Context: Six Attitudes in Australian Art, 26 April – 24 May 1978, Monash University Exhibition Gallery. Curated by Grazia Gunn and featuring the work of artists Gunter Christmann, Richard Dunn, Marr Roy Grounds and Paul Pholeros, Kerrie Lester, Paul Partos, and Sam Schoenbaum. Illustrated throughout with artworks, accompanied by artists texts, biographies, texts by Sandra McGrath, Gary Catalano, and an introductory essay by Grazia Gunn.
Very Good copy, light general wear, tanning to pages.
1973, English
Softcover (denim-bound, stitched and silk-screened), 96 pages, 24 x 22 cm
1st Edition, Out of print title / used / good
Published by
NGV (National Gallery of Victoria) / Victoria
$90.00 - In stock -
The art catalogue wearing denim! Fantastic, scarce exhibition catalogue from 1973 for "Some Recent American Art", a major contemporary survey exhibition that toured Australia and New Zealand, organised under the auspices of the International Council of the Museum of Modern Art New York with the assistance of Graeme Sturgeon, David Sampietro, and Peter Cripps. Wrapped in jeans denim covers (screen-printed and stitched), and profusely illustrated throughout in colour and b/w with the work of exhibiting artists Vito Acconci, Carl Andre, John Baldessari, Lynda Benglis, Mel Bochner, Dan Flavin, Eva Hesse, Robery Irwin, Donald Judd, Joseph Kosuth, Sol LeWitt, Brice Marden, Agnes Martin, Robert Morris, Bruce Nauman, Dorothea Rockburne, Robert Ryman, Richard Serra, Keith Sonnier, William Wegman, and Lawrence Weiner. Each artist section includes a list of works, biographical information and text(s) from the artist. Opening text by curator Jennifer Licht, acknowledgments by NGV director Gordon Thomson, with further sections on exhibited Video Tapes, bibliography and artist index.
Good copy, with tanning/fading to spine and some light fraying to cover edges.
1999, English
Softcover (w. dust jacket), 304 pages, 29.2 x 25.5 cm
1st Edition, Out of print title / used / good
Published by
Phaidon / London
$120.00 - In stock -
First 1999 edition of Arte Povera, the most complete overview of this movement ever published, edited by one of the world's foremost authorities on the subject.
Arte Povera is Italy's most important and influential post-war art movement. Originally championed by the leading art critic Germano Celant, it included internationally recognized artists such as Alighiero Boetti, Jannis Kounellis, Mario and Marisa Merz and Michelangelo Pistoletto. Edited by one of the world's foremost authorities on the subject, this book is the most complete overview of the artworks and writings associated with Arte Povera, an art movement that explored the relation between art and life, made manifest through natural materials and human artifacts, and experienced through the body.
"This is now the definitive English-language sourcebook on Merz, Pistoletto, Paolini and company, thanks to its rich selection of images and texts."―Bookforum
"Get hold of Arte Povera... It is both compendium and critique, with artists' statements, a chronology and commentary. It contextualizes the work, and the pictures are great."―Adrian Searle, Guardian
Carolyn Christov-Bakargiev is a writer and curator living in Rome, who has become an internationally recognized scholar of late twentieth-century Italian art. She has written extensively on the Arte Povera movement and published interviews and texts on artists such as Boetti, Pistoletto, Merz, Fabro and Kounellis. Bakargiev is also a noted curator of contemporary art internationally: her exhibitions include 'Molteplici Culture', Rome, 1992 and a homage to John Cage which she co-curated with Alanna Heiss for the 1993 Venice Biennale.
She was part of the curatorial team for the 'Antwerp 93 European Capital of Culture', devising the major international survey, 'On Taking a Normal Situation and Re-translating it into Overlapping and Multiple Readings of Conditions Past and Present'. In 1996 Bakargiev curated a large-scale survey on Italian post-war artist Alberto Burri in Rome, Brussels and Munich. In 1997, she curated 'Citta-Natura': a city-wide exhibition of international artists including Anselmo, Mario Merz, Marisa Merz, Pascali and Kounellis, held in Rome.
She is Chief Curator at the Castello di Rivoli, Turin, and was formerly Senior Curator at P.S.1 Contemporary Art Center, New York. She was co-curator, with Iwona Blazwick, of Faces in the Crowd: Picturing Modern Life from Manet to Today , Whitechapel Art Gallery, London, and Castello di Rivoli, Turin, 2004 5.
Good copy with some corner knocking, small tear to top of spine dust jacket, otherwise very good throughout.
1970, German / French
Softcover, 118 pages, 21 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Zürcher Kunstgesellschaft Helmhaus Zürich / Zürich
$160.00 - Out of stock
Rare, important exhibition catalogue designed by Walter Diethelm, published on the occasion of the exceptional exhibition Text Buchstabe Bild (Text, Letter, Image), held at the Zürcher Kunstgesellschaft Helmhaus Zürich, July 11—August 23, 1970. Preface by Felix Andreas Baumann. "The point is to present this literature, which is located between writing and images, text and graphics and around the tertium comparationis of typography, to an audience that is probably not too familiar with the techniques and variants of “concrete literature”—from the preface. An incredible and varied anthology of the experimental, poetic, graphic interplay of text and image, profusely illustrated in b/w, accompanied by texts in German and French by Stéphane Mallarmé, F.T. Marinetti, Tristan Tzara, Oyvind Fahlström, El Lissitzky, André Breton, Eugen Gomringer, Augusto de Campos, Decio Pignatari, Haroldo de Campos, Jan Hamilton Finlay, Pierre Garnier, Max Bense, Reinhard Döhl, Carlfriedrich Claus, Seiichi Niikuni, Henri Chopin, Franz Mon, Jiri Kolár, and Bob Cobbing.
Artists included: Stéphane Mallarmé, Arno Holz, Christian Morgenstern, F.T. Marinetti, Carlo Carrà, Lacerba, Ardengo Soffici, Hugo Ball, Georges Braque, Ernst Ludwig Kirchner, Amédée Ozenfant, Guillaume Apollinaire, Marcel Janco, Tristan Tzara, Raoul Hausmann, Fernand Léger, Richard Hülsenbeck, Vincente Huidobro, Francis Picabia, Jean Pougny, Kurt Schwitters, Paul Klee, Bruno Adler, Jean Epstein, Theo Van Doesburg, El Lissitzky, Jozef Peeters, Sonja Delaunay-Terk, Iliazd, Friedrich Kiesler, Man Ray, László Moholy-Nagy, Käthe Steinitz, Kurt Schwitters, Theo van Doesburg, Hans Arp, Friedrich Vordemberge-Gildewart, Henryk Berlewi, Farkas Molnár, Zenit, Hendrik Nicolaas Werkmann, Walter Gropius, John Heartfield, Marcel Duchamp, Le Corbusier, and Georges Hugnet.
Very Good ex-NGV library copy, well preserved with only light wear and "National Gallery of Victoria" light stamp to block edge and lower back-cover. No internal stamping/marking.
1998, English
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert card preserved. Rare!
text in 12 & 18pt courier bold
set off macintosh word 5.1
photocopied onto 80 gsm bond
black pages of cover flap stock
modified by hand
cover hand-set in 10 & 12pt typewriter
and printed by John Ryrie
on village paper
published in an edition of 26 copies
this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems & pages 1998 Alex Selenitsch
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1999, English
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert card preserved. Rare!
texts in 12pt and 24pt mishawaka bold
set off macintosh word 5.1 and photocopied on 80gsm bond
bookmark photocopied on tablex card and hand-punched
cover hand-set in various types and printed by John Ryrie on 160gsm "lime" canson mi-tientes
in an edition of 26 copies
this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems c 1999 Alex Selenitsch
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1999, English
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert die-cut card preserved. Rare!
"= signs photocopy-enlarged
and hand-cut-and-pasted
texts in 9pt(light)/12pt(bold)/24pt (bold) courier
set off macintosh word 5.1
photograph by Nick Selenitsch
scanned/edited by Sean Doyle
book photocopied on 80gsm bond
bookmark photocopied on tablex card
cover hand-set
and printed by John Ryrie on 160 gsm "azure" canson mi-tientes
in an edition of 26 copies this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems and sculpture c 1999 Alex Selenitsch
photograph c 1999 Nick Selenitsch
sculpture installed at the Kangaroo Sculpture Award 1999 Kangaroo Ground, Victoria, Australia
"eekaal" by π.ο.
from The Fitzroy Poems, Collective
Collective Effort Press 1989"
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1998, English / German
Softcover (stitch-sewn w. dust jacket + insert), unpaginated, 21 x 21 cm
Ed. of 26, numbered,
1st Edition, Out of print title / used / very good
Published by
Alex Selenitsch / Melbourne
$200.00 - In stock -
Privately produced, privately issued, artist's book of concrete poetry from Melbourne artist Alex Selenitsch (b. 1946), hand-bound and numbered in an edition of 26 copies allocated to each letter of the English alphabet. This copy "X". Pages sewn into white card wrappers with printed dust jacket and insert card preserved. Rare!
texts in 10pt and 24pt courier bold set off macintosh word 5.1 and photocopied on 80gsm bond
bookmark photocopied on tablex card
cover hand-set in 18pt typewriter and printed by John Ryrie on 160gsm "moonstone" canson mi-tientes
in an edition of 26 copies this copy
ABCDEFGHIJKLMNOPQRSTUVW(X)YZ
with 5 proofs marked
a e i o u
poems C 1998 Alex Selenitsch
translation of introduction C Angela Haas
Since the late 1960s, Selenitsch’s practice has combined aspects of his education and work in architecture with his pursuits as a poet and artist. A unifying theme is the use and spatial manipulation of letters, words and objects to create an incisive, conceptual play between meaning and form. This is seen most directly in his three-dimensional creations, but also in concrete poems that likewise present a spatially fertile field. In these works, typographic elements and material properties are as significant in conveying ideas as words themselves.
VG copy.
1960, English
Softcover (staple-bound), 16 pages, 30 x 22 cm
1st Edition, Out of print title / used / average
Published by
Edition Peters / New York
C. F. Peters / New York
$35.00 - In stock -
1960 edition of John Cage's "Amores" (1943) sheet music, published by Henmat Press and C. F. Peters, New York. Complete sheet music with a detailed introduction in English.
Average copy with general wear/age, spine edge giving way but still bound, some lead pencil notation throughout. From the collection of Australian composer of concert, jazz, and commercial music, Donald Banks (1923—1980). Banks studied composition privately with Mátyás Seiber in the UK, was associated with Gunther Schuller, Tubby Hayes, Milton Babbitt and Luigi Dallapiccola, scored Hammer horror films, and, back in Australia during the 1970s, was Head of Composition and Electronic Music Studies at the Canberra School of Music and Head of the School of Composition Studies at the New South Wales Conservatorium of Music.
1972, English
Hardcover (w. dust jacket), 174 pages, 24 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Neville Spearman / London
$150.00 - Out of stock
Rare, first hardcover 1972 edition of Fred Judd's classic "Electronics In Music", describing the principles behind early electronic musical instruments and synthesised sound, heavily illustrated with photographs and circuit diagrams. "Never before has the subject matter been written about so exhaustively."
Frederick Charles Judd (1914—1992) was a pioneer in British electronic music. Judd was an inventor, amateur radio operator, and proselytiser of early British electronic music, his importance hinges on a wide range of electronic activities: from his compositions, self-built synthesizer and sound visualisation system to his books, magazine articles and radio broadcasts. He was a prime mover in disseminating electronic sounds and musique concrete to the public - not just encouraging them to listen, but also to experiment with tape recorders and tone generators.
VG in G dust jacket w. price corner clip to inner flap, previous owner's name to endpaper. Well preserved copy.
2019, English
Softcover, 406 pages, 26.7 x 19 cm
Published by
Ecstatic Peace Library / New York
$95.00 - In stock -
French composer Luc Ferrari (1929-2005) was one of the progenitors of Musique concrète and a pioneer of and resolutely idiosyncratic voice within electroacoustic music. Ferrari was an early participant in the Groupe de Musique concrète and, with Pierre Schaeffer and François-Bernard Mâche co-founded the Group de Recherches Musicales (GRM) in 1958. Throughout his career, Ferrari worked in multiple forms: instrumental works, vocal music, text scores, electronic and electroacoustic music, Hörspiele, theatre and films.
This is the first monograph in English on Luc Ferrari and includes writings, original compositions, notes, text scores, artworks and interviews. Edited by Brunhild Ferrari. English translations by Catherine Marcangeli. Foreword by Thurston Moore. Introduction by Jim O’Rourke. Preface by Brunhild Ferrari. Afterword by David Grubbs.
1971, English
Softcover, 46 pages, 26.5 x 19 cm
1st Edition, Out of print title / used / very good
Published by
La Revue Musicale / Paris
$80.00 - In stock -
Very rare 1971 publication of an article by French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète, Pierre Schaeffer (1910—1995), from Music and Technology, proceedings of the international conference organized by UNESCO in Stockholm, June 1970, published here translated to English in full by La Revue Musicale, Paris.
Very Good copy.