World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
Thu–Fri 12–6
Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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.
2025, English
Softcover + flexi–disc, 184 pages, 26 x 19.5 cm
Limited Edition,
Published by
First To Knock / Michigan
$72.00 - In stock -
Limited-edition version with flexi-disc recording of Satie’s “Leit-motiv du Panthée” performed, as intended, as an accompaniment to a reading of Joséphin Péladan’s Le Panthée.
In 1892, Erik Satie was at a crossroads. Despite having already composed some of the finest works ever written for piano, the 26-year-old was still penniless and unappreciated. His artistic ethos—a paradoxical mix of reactionary Medievalism and avant-garde absurdism—could find no quarter in fin-de-siècle Paris. And so, with his musical aspirations dashed and nowhere left to turn, Satie would turn to himself.
His subsequent revolt was as shocking as it was incomprehensible to his contemporaries. Satie announced himself to be “the Parcener,” the head of a new religious order. It was, in fact, a church of his own founding—The Metropolitan Church of Art of Jesus the Conductor.
Transforming his dilapidated apartment into an “Abbatial Church,” Satie began issuing scathing letters to prominent cultural figures who had sought to render judgment upon his Art. Targets of the Parcener’s screeds ranged from the cape-clad mystagogue, Joséphin Péladan, to the pompous composer, Camille Saint-Saëns; from the novelist Octave Mirbeau, who had dared to lampoon the Parcener, to the theatre director Aurélien Lugné-Poe, whose unintentionally nude stage production had offended the Parcener’s moral sensibilities. The fiercest feud was reserved for music critic Henry Gauthier-Villars, whom the Parcener battled in the press for years, until the spat culminated in a physical altercation at a concert. Throughout the 1890s, luminaries, such as these, found themselves excommunicated from a church to which they had not even known they once belonged.
Inscrutable as the author himself, Satie’s writings from this brief period strike a tone that lies somewhere between fervent Catholicism, anarchistic satire, and the righteous rage of the true Artist—leaving readers befuddled as to the composer’s true intent. Yet, despite the impenetrability of his writings, the Parcener’s missives took the Parisian art scene by storm and, as Satie’s crusade grew in intensity, so too did his reputation, making this era as historically crucial as it is bewildering. Nevertheless, the Metropolitan Church was ultimately a solitary undertaking. Despite certain documents indicating that the Church expected to have more than a billion members, history would show that its congregation never grew beyond one: Erik Satie himself.
Know Me To Be Your Superior in Everything is the first book dedicated exclusively to the story of Erik Satie’s Metropolitan Church of Art of Jesus the Conductor. Drawing upon a multitude of firsthand sources—including documents held in the Erik Satie archives in Caen—the book includes new English translations of all known Church publications and correspondence by Satie as the Parcener. Facsimilic translations of Satie’s Church publications are reproduced herein as well, capturing, for the first time in English, the design and typography of the original productions.
Know Me To Be Your Superior in Everything was written by Sam Kunkel, a scholar of 19th century Symbolist literature. Previous to this book, Kunkel has also provided translations for Echoes of a Natural World—Tales of the Strange & Estranged (First To Knock, 2020); A Beam of Sunlight in the Deep Forest—Mystical Prose Works by Édouard Schuré (First To Knock, 2021); as well as The Solar Circus by Gustave Kahn (First To Knock, 2022). Kunkel has also written extensively in French, covering topics such as Joséphin Péladan and religion in fin-de-siècle Paris. His critical reedition of Péladan’s notorious novel, Istar, was published by Éditions du Lérot in 2024, and his book, L’Orphisme et le roman post-romantique, a comparative study of the mystical novel, was released by Éditions Otrante in 2023.
Design by Bryan Cipolla
2003, English / German
Hardcover (w. CD), 120 pages, 24.5 x 21 cm
1st Edition, Out of print title / used / fine
Published by
Kehrer Verlag / Heidelberg
$60.00 - In stock -
"Works with Sound" presents a complex body of work, comprising thirty years of sculptures, drawings, environments, and performances. Fox, who since the 1960s radically rejected traditional art forms and sought new ways of artistic expression, has been increasingly concerned with investigating the seldom-observed energetic aspects of materials. Hence, sound gained a central significance in his works. The artist is dedicated to finding sounds that make energies palpable and connect the listener and his physical surroundings. Profusely illustrated rich chronology of all works with sound, including extensive biography and accompanying texts by Terry Fox and contributions by Matthias Osterwold and Eva Schmidt. Edited by Bernd Schulz. Bi-lingual English and German texts.
Accompanied by an audio CD with excerpts from six sound performances since 1975.
NF copy with unplayed CD.
Signed dedication to historian and sound theorist Douglas Kahn, from the book's author Matthias Osterwold, a prominent German curator and artistic director who shared a long-standing creative relationship with Terry Fox (1943–2008).
1985, Dutch
Softcover (fold–out), 27 x 17.5 cm (folded); 27 x 87.5 (unfolded)
1st Edition, Out of print title / used / good
Published by
Het Apollohuis / Eindhoven
$25.00 - In stock -
Very rare 1985 fold–out exhibition guide/programme published in conjunction with Echo : The Images of Sound 1, held November 22—January 6, 1985. A complete guide to all of the concerts and installations, illustrated throughout with profiles of all the artists, and accompanying text by Paul Panhuysen. Artists featured: Julius, Ellen Fullman, HUM, Max Eastley, Takehisa Kosugi, Hugh Davies, Godfried-Willem Reas, STEIM, The Simulated Wood, VANDALIA, Arnold Dreyblatt, Richard Lerman, Leon van Noorden, Paul Panhuysen, Johan Goedhart, Hans-Karsten Raecke, Jon Rose and George Smits.
"From November 1984 until January 1985 a group was held in Het Apollohuis, Eindhoven of works that combined image and sound. Installations, concerts and a symposium were organised around the exhibition, featuring artists who use sound in their work and composers who use visual aspects."
Good copy, light general wear, some creasing. Folded as issued.
27 x 17.5 cm (folded); 27 x 87.5 (unfolded)
1971, Japanese
52 loose–leaf sheets in plastic display in envelope, 30 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Yoshihiro Tatsuki / Tokyo
$240.00 - In stock -
Incredible rare vintage photographic weekly calendar for 1971, self–published by Yoshihiro Tatsuki, one of Japan's leading photographers of the 1960s–1970s. House in envelope, this wonderful production is made up of 52 calendar weeks printed as loose–leaf glossy photo sheets (plus one title page and one blank endpaper), showcasing Tatsuki's best monochromic female nudes from the period in gorgeous photogravure, all housed in a plastic sleeve/calendar display with a transparent front and nylon string hanger to the back, allowing the owner to shuffle the plates to display the current week of 1971 at the front of the hanging stack. Reproducing so many of the most iconic images from among the most mythical and joyous Japanese photobooks of the period along with many images not included in his famed books!
Tatsuki was born into a family that operated an photographic portrait studio. While at Tokyo junior College of Photography, he exhibited photographs of his family at the Fuji Photo Salon. After graduation, he began working as a photographer at Ad Center under the art direction of graphic designer Seiichi Horiuchi. Tatsuki’s name entered the limelight when he was just 26 years old with the publication of "A Fallen Angel", an astonishing 56 pages feature of his photographs shots for Camera Mainichi. Since starting as a freelance photographer in 1969, he has worked on the front lines of the advertising, magazine, publishing, and motion picture industries. He has published a number of celebrated photo books on female subjects and is best-known for works such as GIRL, EVES, Private (Mariko Kaga), Aoi Toki, My America, and Portrait of Family.
Good copy with general wear/handling/age, display sleeve is chipped to to top but still working nicely.
1971, German
Poster, 60 x 60 cm
1st Edition, Out of print title / used / very good
Published by
Spot–Kiel University / Kiel
$300.00 - Out of stock
Rare original 1971 poster produced on the occasion of Instrumentarium 1. Werksatz, a performance of German conceptual and participatory artist Franz Erhard Walther in the foyer of the Kiel University Library, as part of the Spot event series. The event was a demonstration by the artist of his first set of works (process material), followed by a discussion with German art critic Bazob Brock, designer Dietrich Helms, and German sociologist Lars Clausen. The poster features a performance photo taken by Tim Rautert. A collector's item, ready to frame.
Dimensions: 60 (h) x 60 (w) cm
Having participated in Harald Szeemann’s legendary When Attitudes Become Form (1969) and Documenta 5 (1972) as well as the Museum of Modern Art’s landmark Spaces (1970), Walther’s remarkable coupling of elementary forms with conceptual ideas and a radical rethinking of the relationship between sculpture and action, has become so influential to the contemporary practices of young artists today. The German conceptualist and sculptor Franz Erhard Walther counts among those artists who, in the 1960s, sought to undermine the authorial role of the artist in favour of a more democratic aesthetic dependent on the interaction of viewer and object; simple and individual acts such as folding and lying, leaning and stepping are either the source of his often minimal works or the means by which individual viewers may interact with them. His means of sculptural expression often involved the use of soft materials. His canvas sculptures are simply meant to be held, worn, lain in or stood under, usually by two or more people, creating strange moments of social intimacy and spatial awareness.
Very Good copy with some light crease wear to extremities.
Artist: Walther, Franz Erhard. Date: 1971. Exhibition poster for the exhibition in the foyer of the University Library. Franz Erhard Walther demonstrated and explained parts of his first set of works (process material). A discussion followed with Bazob Brock, Dietrich Helms, and Lars Clausen. Part of the Spot event series of Kiel University and the Cultural Senate of the City of Kiel. 60 x 60 cm, illustration: photo by Tim Rautert. Mint condition.
1986, Japanese
Softcover (staple-bound), 24 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
MGM / Tokyo
$30.00 - In stock -
Japanese souvenir photo booklet for Poltergeist II: The Other Side (also known simply as Poltergeist II) the 1986 American supernatural horror film directed by Brian Gibson, a direct sequel to Tobe Hooper's masterpiece Poltergeist (1982). Featuring JoBeth Williams, Craig T. Nelson, Oliver Robins, Heather O'Rourke and Zelda Rubinstein reprising their roles from the first film, plus Will Sampson, Julian Beck and Geraldine Fitzgerald, the second entry in the Poltergeist film series follows the Freeling family who again finds themselves under attack from the supernatural forces led by "the Beast", the monstrous, biomechanical entity manifesting from the spirit of the evil preacher Reverend Henry Kane, designed by surrealist artist H.R. Giger, famous for the Alien xenomorph. Giger's dark, biomechanical style was applied to Kane's manifestations, including the "Vomit Creature" and the massive "Great Beast" that appears in the astral plane, a design realized by effects artists. Heavily illustrated throughout with glossy colour and b/w stills from the film, alongside texts in Japanese about the film, cast, and production information.
VG with some light wear.
1979 / 1982, English
Softcover (staple–bound), 24 pages, 21 x 14.5 cm
1st Edition, Out of print title / used / good
Published by
Libertarian Workers for a Self–Managed Society / Melbourne
Libertarian Socialist Organisation / Brisbane
$65.00 - In stock -
Rare 1982 print of the original pamphlet published by the Libertarian Socialist Organisation, Brisbane and the Libertarian Workers for a Self–Managed Society, Parkville, Melbourne. It was also printed up by Monash Anarchist Society, Adelaide Libertarian Socialists, Black Cat Press, Anarchist Communist Federation, and Acrata Press in San Francisco in various editions. First printed in 1978/1979, this original pamphlet was published in the aftermath of the Sydney Hilton Bombing, a domestic terrorist attack that marked a major turning point in Australia's security history. The black humour of the time around the anarchist movement was that the police and security forces framed socio-spiritual sect Ananda Marga because they came before Anarchism in the alphabet. Essay chapters: Terrorism by The State; The Urban Guerilla Strategy of Revolution; Nothing Radicalizes Like Pigs in the Park; Headline Hunters; Military Madness; Minimise Violence by Emphasising Politics.
The arguments in this pamphlet are still as valid today as when they were written 30 years ago.
Average-Good copy with tanning/foxing/light wear to edges, some old tape residue to bottom of cover. Interior well preserved.
1994, English
Post card, 22.2 x 15.8 cm
1st Edition, Out of print title / used / good
Published by
Comme des Garçons / Tokyo
$70.00 - In stock -
Rare original 1994 Comme des Garçons advertising campaign postcard from the iconic collaboration with American artist Cindy Sherman, famous for her raw and direct representations of women roles in media, in which Sherman employed dolls and prosthetics to create dark, subversive fashion imagery. The 1994 campaign, reflecting the Comme des Garçons aura, destabilizes the beauty and communication standards of the classical polished fashion campaign that were (and still are) flooding the luxury industry. According to curator Jessica Glasscock, “If Sherman’s take on Kawakubo’s designs is difficult to discuss as fashion photography, that difficulty is mirrored in the fashion press’s attempts to come to terms with Comme des Garçons clothes.”
Large format postcard (C5): 22.2 x 15.8 cm
Good copy with some light creasing.
2019, English
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
Ed. of 2500,
Published by
Primary Information / New York
$65.00 - In stock -
Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$180.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
2002, English / German
Softcover (spiral–bound), 76 pages + 2 x audio CD, 26.5 x 19.5 cm
1st Edition, Out of print title / as new
Published by
Berliner Künstlerprogramm des DAAD / Berlin
$25.00 - Out of stock
Spiral–bound book and double CD set published to accompany the exhibition, Inventionen 2000: Berliner Festival Neuer Musik, Klanginstallationen - Akusmatische Konzerte, 2000, organised by Berliner Künstlerprogramm des DAAD and Technische Universität Berlin, lead by Ingrid Beirer, Folkmar Hein, Carsten Seiffarth. The publication comprises two CDs housed in a polyurethane sleeve inside a 76 page spiral-bound book in bi–lingual English/German containing liner notes, essays, biographies and full-colour photographs of the participants, installations and performances.
CDs feature: François Donato, Adrian Moore, David Prior, Mario Verandi, Alvin Lucier, Ron Kuivila, Tom Johnson/Martin Riches, José Antonio Orts, Ed Osborn, Christina Kubisch, Wolfgang Mitterer
As New copy.
1999, German
Softcover (w. corrugated folder, loose-leaf pages) + audio cd, 30 x 22 cm
Ed. of 100,
1st Edition, Out of print title / used / very good
Published by
Verein Zur Förderung Künstlerischer Konzepte Mit Gesellschaftlicher Relevanz / Wiesbaden
$90.00 - In stock -
Very rare limited edition folio and CD publication published on the occasion of one of the most significant Sound Art festivals in the world, the KLANG-KUNST-FESTIVAL, organised in the German city of Wiesbaden by Helmut Schulze-Reichenberg, Bellevue-Saal, 13 May — 4 July 1999, featuring the work of Alien Productions, Thorsten Goldberg, Christina Kubisch, Akio Suzuki. "An encounter between art and music, between sound and form. Installations will be shown by internationally known artists whose oeuvre has made a significant contribution to the development of sound art; The spectrum ranges from meditative sound spaces to sound sculptures and video installations to works of art that have sound and music as their theme." This elaborate catalogue was published in an edition of 100 copies. Housed in a corrugated envelope, this folio contains a folder of loose-leaf artist's page containing diagrams, drawings, photographs, writings and biographies to accompany each contributing artists, plus CD that reproduces the recordings by the artists involved.
Very Good copy, light wear only.
2001, German
Softcover (w. corrugated folder, loose-leaf pages) + audio cd, 30 x 22 cm
Ed. of 250,
1st Edition, Out of print title / used / very good
Published by
Verein Zur Förderung Künstlerischer Konzepte Mit Gesellschaftlicher Relevanz / Wiesbaden
$70.00 - In stock -
Very rare limited edition folio and CD publication published on the occasion of one of the most significant Sound Art festivals in the world, the KLANG-KUNST-FESTIVAL, organised in the German city of Wiesbaden by Helmut Schulze-Reichenberg, Bellevue-Saal, 10 May — 1 July 2001, featuring the work of Ulrich Eller, Christoph Lahl, Robin Minard, Alexander R. Titz. "An encounter between art and music, between sound and form. Installations will be shown by internationally known artists whose oeuvre has made a significant contribution to the development of sound art; The spectrum ranges from meditative sound spaces to sound sculptures and video installations to works of art that have sound and music as their theme." This elaborate catalogue was published in an edition of 250 copies. Housed in a corrugated envelope, this folio contains a folder of loose-leaf artist's page containing diagrams, drawings, photographs, writings and biographies to accompany each contributing artists, plus CD that reproduces the recordings by the artists involved.
Very Good copy, light wear only.
2010, English / Croatian
Softcover (leporello fold), 11 x 166 cm
Artist's Ed. of 200,
Published by
Museum of Modern Art / Warsaw
$25.00 - In stock -
Mladen Stilinović's "Frizeri / Hairdressers" was first published in 1975, when Stilinović was making many photographs and photographic series which he bound in leporello (accordion) format. Frizeri (Hairdressers) was one of these many important published edition works of the late Croatian conceptual artist, and this Artist's edition was published in 2010 to accompany a major exhibition at the Museum of Modern Art in Warsaw.
This Artist's edition was published by Stilinović by pasting together photographs in an edition of 200 copies.
Mladen Stilinović (1947—2016) was one of the most significant representatives of neo-avant-garde art in Central and Eastern Europe. Stilinović was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. His polymorphic approach finds varied manifestations from collages, installations, photographs, books, performances, actions in public space as well as participations in collective actions. Through his works, Stilinović explores ideological signs and their social aspects. Using devices such as irony, paradox, and manipulation, the artist criticizes the language of politics, institutional hierarchy within art, and the role of money and labor in society. Language is central to his aesthetics; he associates it with graphic signs and other visual references to historical movement, such as geometric abstraction. His work is deeply rooted in the rites that reveal the interdependence of private and public spheres. He is particularly interested in the interaction between visual and linguistic signs as well as in the mechanisms of deconstruction in language. Stilinović also ran the Extended Media Gallery from 1981-1991. He lived and worked in Zagreb, Croatia.
As New.
2009, English
Softcover (leporello fold), 15.5 x 97 cm
Artist's Ed. of 200,
Published by
Index / Stockholm
$25.00 - In stock -
Mladen Stilinović's "My Sweet Little Lamb" was first published as an artist's book in 1993. Produced with pen and rubber seal on printed paper, it is one of the many important published edition works of the late Croatian conceptual artist, and this recent Artist's edition was published in 2009 by Index, Stockholm, on the occasion of a major exhibition of the artist's books.
This Artist's edition was published by Stilinović in leporello format in an edition of 200 copies.
Mladen Stilinović (1947—2016) was one of the most significant representatives of neo-avant-garde art in Central and Eastern Europe. Stilinović was one of the leading figures of the so-called "New Art Practice" in Croatia and a founding member of the informal neo-avantgarde, Group of Six Artists (1975-1979), together with Vladimir Martek, Boris Demur, Željko Jerman, Sven Stilinović and Fedomir Vučemilović. His polymorphic approach finds varied manifestations from collages, installations, photographs, books, performances, actions in public space as well as participations in collective actions. Through his works, Stilinović explores ideological signs and their social aspects. Using devices such as irony, paradox, and manipulation, the artist criticizes the language of politics, institutional hierarchy within art, and the role of money and labor in society. Language is central to his aesthetics; he associates it with graphic signs and other visual references to historical movement, such as geometric abstraction. His work is deeply rooted in the rites that reveal the interdependence of private and public spheres. He is particularly interested in the interaction between visual and linguistic signs as well as in the mechanisms of deconstruction in language. Stilinović also ran the Extended Media Gallery from 1981-1991. He lived and worked in Zagreb, Croatia.
As New.
2008 / 2015, English
4 hand-sewn books in a plastic file (softcover books w. cut/folded coloured papers, white photocopy title sheet), each book 16 pages, 21 x 21 cm
Ed. of 32, numbered,
Published by
Alex Selenitsch / Melbourne
$320.00 - In stock -
Artist book edition published in an edition of 32 hand-numbered copies. Each edition is made up of 4 hand-sewn books in a plastic file. Each book comprises 16 pages of cut/folded coloured papers presenting a colour narrative: four pastel ‘primaries’ making colour tableaux, introduced and closed off by black and white covers.
The coloured pages are assembled from A3 sheets which have been halved: accurately in two cases (straight line orthogonal and straight line incline) or approximately (sinusoidal and horizontal tear). The cut-outs on the cover hint at the kind of division or halving that the coloured sheets have been subjected to. Both halves are used in the edition of each book, so that each edition of 32 copies with 4 folded sheets (giving 16 pages) uses 64 sheets. For the approximate cuts (sinusoidal and horizontal tear), there is some variation inside the edition.
1968, Japanese
5 litho prints in letterpress envelope, 19 x 13 cm
1st Edition, Out of print title / used / very good
Published by
Kodansha Int / Tokyo
$200.00 - In stock -
Complete 5 card set of litho prints by legendary Japanese artist Tadanori Yokoo, issued in letterpress, marbled envelope in 1968 to commemorate the release of the complete 12 volume collected works of Japanese author and critic Edogawa Ranpo (1894—1965), who played a major role in the development of Japanese mystery and thriller fiction. Yokoo contributed many illustrations to the book collection, alongside fellow artists Iwami Furusawa and others. This rare folio of prints (roughly the size of post cards) collects five of the finest examples of Yokoo's instantly recognisable 1960's psychedelic work — erotic, grotesque, and esoteric themes rendered in vivid graphic collage and pop colour.
Tadanori Yokoo (b. 1936) is one of Japan's most successful and internationally recognized graphic designers and artists, who began working with painting in 1966. In parallel, Yokoo’s early screenprints experimented with collage and illustration, combining found photographs with the influence of traditional Japanese ukiyo-e and pop art’s flat vibrant colours and overtly sexual and grotesque content, often reflecting on the rapid changes and Westernisation of Japan post-war society. His interests in mysticism and esotericism, deepened by travels to India, influenced his iconic posters with eclectic psychedelic imagery sharing the aesthetics of the underground counterculture he was associated with. In Tokyo Yokoo worked as a stage designer for avant-garde theatre, collaborating extensively with Shūji Terayama and his experimental theater group Tenjō Sajiki. By the late 60s he had already achieved international recognition and in the early 1970s MoMA mounted a solo exhibition of his graphic work. His famous designs for The Beatles, Miles Davis, Carlos Santana and collaborations with friend and iconic Japanese fashion designer Issey Miyake are renowned the world over.
Very Good, perfectly preserved cards in aged envelope with some wear to edges and tanning.
2006, English
Hardcover (debossed faux leather bound + 7"), 26 x 23 cm
600 numbered copies,
1st Edition, Out of print title / used / fine
Published by
Hysteric Glamour / Tokyo
$100.00 - In stock -
Published in 2006 by fashion brand Hysteric Glamor in a numbered edition of 600 copies, bound in padded debossed faux leather hardcover with a 7" record, "the book is a monograph of my late 1970s photographs of my friends, the avant-garde rock group Destroy All Monsters."—Sue Rynski, Detroit photographer. Described by legendary critic Lester Bangs as "anti-rock", Destroy All Monsters was an influential Detroit rock band formed in 1973 by University of Michigan art students Mike Kelley, Jim Shaw, legendary femme fatale Niagara, and filmmaker Cary Loren, existing to 1985 with shifting personnel and sporadic performances since. Performing their first concert at a comic book convention in Ann Arbor, Michigan, on New Year's Eve of 1973, the group combined elements of punk, psych, metal and noise rock with a heavy dose of experimentation and performance art, influenced as much by ESP-Disk, Sun Ra and The Velvets, as monster movies and Futurism. The cult group earned a measure of notoriety through their coveted DAM Magazine, also due to members of The Stooges and MC5 joining the band, and Sonic Youth singer/guitarist Thurston Moore compiling a three compact disc set of the group's music in 1994.
"Born in 1954, year of the birth of rock and roll, I grew up immersed in the high energy music of my hometown Detroit. This loud, physical, emotional music took hold and became a part of me."—Sue Rynski
A stunning book published by Hysteric Glamor director Nobuhiko Kitamura, with editorial direction by : Osamu Wataya, Michitaka Ota (Sokyusha), and Koichi Hara. 7" includes the tracks "Rocking the Cradle" and "Little Boyfriend" by Destroy All Monsters.
Near Fine copy.
1968, Japanese
Softcover (+ poster, invitation, leaflet, 6 x letterhead sheets), unpaginated, 29 x 22 cm
1st Edition, Out of print title / used / good
Published by
Takeo Paper Co. / Japan
$140.00 - Out of stock
Something special for the ephemera lovers. Very rare publication produced by the Takeo Paper Co. in Japan in 1968 on the occasion of the 'American Letter Heads' exhibition, edited by Japan Design Center as part of the 'Creativity On Paper' exhibition series. Wrapped in de–bossed, textured boards, with printed wax paper flyleaf introduction, 'American Letter Heads' surveys some of the finest and most innovative examples of company letterhead stationary from 1960s America, many including corresponding envelopes and business cards. The catalogue becomes a folio at the back with a pocket housing 6 full–sized, full–colour offset reproductions of a selection of further letterheads. It also houses the original 1968 exhibition invitation, the 'Creativity On Paper' illustrated (Milton Glaser, etc.) fold–out leaflet, and fold–out double–sided colour poster for the 'Corporate Publications Exhibit' (51.5 x 36.5 cm) from the 'Creativity On Paper' exhibition series. The whole production a glowing showcase of Takeo Paper Co., specialists in high-grade "fine papers" since 1899.
Good copy book with general wear, small glass ring to cover, tanning to edges, staple rusting, some light edge creasing to letterhead inserts, Fine invite and poster, VG leaflet.
1970, Japanese
Offset poster, 51.5 (w) x 36 (h) cm
1st Edition, Out of print title / used / average
Published by
Takashimaya / Tokyo
$90.00 - In stock -
Very rare vintage exhibition poster from 1970 to accompany the release of Yoshihiro Tatsuki's classic photobook, Eves, and a presentation of the series at Nihombashi Takashimaya Department Store in March that year. Gorgeous photogravure print of the iconic Eves cover photograph by Tatsuki, one of Japan's leading photographers of the 1960s—1970s. Eves counts among the mythical Japanese nude photobooks of the period.
Tatsuki was born into a family that operated an photographic portrait studio. While at Tokyo junior College of Photography, he exhibited photographs of his family at the Fuji Photo Salon. After graduation, he began working as a photographer at Ad Center under the art direction of graphic designer Seiichi Horiuchi. Tatsuki’s name entered the limelight when he was just 26 years old with the publication of "A Fallen Angel", an astonishing 56 pages feature of his photographs shots for Camera Mainichi. Since starting as a freelance photographer in 1969, he has worked on the front lines of the advertising, magazine, publishing, and motion picture industries. He has published a number of celebrated photo books on female subjects and is best-known for works such as GIRL, EVES, Private (Mariko Kaga), Aoi Toki, My America, and Portrait of Family.
Dimensions: 51.5 (w) x 36 (h) cm
Average—Good copy of this rare poster. Small pin-up tears along the top edge and some light creasing.
1978, English
Softcover (looseleaf), 20 pages, 22 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Bolinas Hearsay News / California
$15.00 - Out of stock
Rare copy of Bolinas Hearsay News from April 17, 1978, an unconventional, volunteer-run community bulletin and paper in Bolinas, California, founded in 1974 with the motto "Everyone is a reporter". It operates without paid staff, publishing local news, classifieds, poetry, artwork, and town disputes. "There may be poetry from a nationally renowned local poet or from the little kid next door." Produced and supported by locals, townspeople also serve as editors, printers, and distributors, and while the staff changes over time, their dedication does not. This issue filled with poems (including renowned Swiss-American psychiatrist Elisabeth Kübler-Ross), drawings, reviews, information on radio shows, concerts, meditations, yoga, the wellbeing of Pickles the cat, and more.
VG copy with light edge wear, tanning, age.
1950s, Danish
Softcover (staple–bound), 24 pages, 15 x 12.2 cm
1st Edition, Out of print title / used / very good
Published by
Hans Hansen Sølv / Kolding
$200.00 - In stock -
Very rare vintage catalogue for the original Hans Hansen Sølv shop, Østergade 3 in Kolding, Denmark, the first shop by the famous Danish silversmith, opened alongside his workshop in 1906. This undated mid–century catalogue circa mid–late 1950s is from the height of mid–century style, showcasing a Who's Who of Danish modernist design, the catalogue includes the wooden toys, flatware, jewellery, mobiles, silver/glass/woodware, baskets, wall–hangings, textiles, and sculptural objects of Herman A. Kähler (1846–1917), Jens Quistgaard (1919–2008), Kristian Vedel (1923–2003), Hans Bølling (b. 1931), Kay Bojesen (1886–1958), Vilhelm Wohlert (1920 - 2007), Alfred Klitgaard (1904–1979), Anni and Bent Knudsen (1926–2013 and 1924–1996), Saxbo Pottery, Aase and Preben Jangaard, Kastrup Glass, with many of the prominent items dating from around 1954–56, making it a safe guess on the date of publishing. The entire catalogue is made up of photographic designer–themed spreads represented by Hansen's legendary shop, lead by son Karl Gustav Hansen, with catalogue details and prices in original Danish Krone on all items pictured, making it an invaluable collector's reference.
Silversmith Hans Hansen (1884-1940) opened a workshop in Kolding, Denmark, in around 1906 for the production of hollowware and flatware. In the early 1930s, the firm also began to produce jewellery, including a collection designed by Hansen’s son, Karl Gustav Hansen (1914-2002), in 1932. Karl Gustav had started as an apprentice silversmith at the age of sixteen and in 1934 he was awarded a silver medal, the highest prize in the Danish apprenticeship system, for his test piece. He managed the firm’s shop, which became synonymous with the establishment of Danish modern design. Following Hans Hansen’s death in 1940, Karl Gustav took over the business, which traded as Hans Hansen Sølvsmedje A/S, and the firm’s reputation as a producer of jewellery and cutlery grew. Karl Gustav collaborated with a number of artists, including Lynn Chadwick, Kenneth Armitage and Giacomo Manzù, inviting them to experiment with using silver for small sculptures.
Very Good copy, ex–National Gallery Victoria collection copy with single stamp to initial page, no other library markings at all. Some light spine pinching, no rust to staples.
2012, Japanese
DVD
Signed by Tsurisaki Kiyotaka,
1st Edition, Out of print title / used / fine
Published by
Uplink / Japan
$120.00 - In stock -
Japanese death photographer Tsurisaki Kiyotaka is back, with his own unique vision of our planet. The Wasteland is a look into the world around us. It is a look into the aftermath of war, religion, and other evil facets that aid in the destruction of Earth. Kiyotaka teams up with the legendary doom metal band Corrupted to set the mood for this epic. Don't look away. The Wasteland is real.
First Uplink 2002 Japanese issue with insert. Disc signed by Tsurisaki Kiyotaka.
Since 1994, Japanese photographer, film director, and writer Kiyotaka Tsurisaki (b. 1966) has become known for prolifically photographing dead bodies; his images of death and conflict from global "hot-spots" earning him a reputation as a leading underground photographer. For Kiyotaka’s raw photo-journalistic practice he habitats disaster areas, accident sites and war zones, locations where society has collapsed to seek out and photograph man's ultimate taboo — death. Many of these people met with violent ends, whether by vehicle crash, homicide, or suicide. The images are stark, confronting, bleak and profound. Tsurisaki also brings the viewer into morgues and forensics labs, where the macabre work of embalming and autopsy is unapologetically documented. His work has led him from Fukoshima and Japan’s suicide forest Aokigahara, Thailand, Colombia, Mexico, Russia, and Palestine, as well as other lawless or war-torn parts of the world, to photograph human corpses. In El Cartucho, Bogota, Kiyotaka filmed the shockumentary Orozco The Embalmer (2001) — a now cult classic in its genre, alongside his Junk Films (2007) and Wasteland (2012). Tsurisaki has published several photo books and authored Book Of The Dead (2011), and The Dogs of the Nuclear War: A Chronicle Of The Fukushima Daiichi Nuclear Power Plant (2017).
NTSC Zone 2 DVD.
2021, English
Blu-ray + 84 page booklet
Published by
Ex Film / Melbourne
$40.00 - Out of stock
“All of the film you are about to see is real,” it begins. “Nothing has been staged.”
In 1981, filmmakers Sheldon Renan and Academy Award® nominee Leonard Schrader (KISS OF THE SPIDER WOMAN, MISHIMA, BLUE COLLAR) created a graphic and provocative examination of America’s history with – and penchant for – senseless violence, mass shootings and cold-blooded murder. It was condemned as “exploitive and obscene” (The New York Times), acclaimed as “among the most controversial documentaries in the history of cinema” (Fantasia Festival), and never distributed, televised or made available for sale in the United States. Ex Film presents this infamous ‘shock doc’ fully restored, uncut and loaded with exclusive Bonus Features – including the even more unnerving Japanese version known as VIOLENCE U.S.A. – which remains one of the most profoundly disturbing and still chillingly relevant documentary experiences of our time.
Finally available in Australia!
Features for this Blu-ray edition include: