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:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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World Food Books Gift Voucher
World Food Book Bag
Australian Art
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Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
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Literary Theory / Semiotics / Language
Feminism
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Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, 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.
1977, English
Softcover (staple-bound), 47 pages, 27.7 x 20.5 cm
1st Edition, Out of print title / used / average
Published by
Art Metropole / Toronto
$180.00 - In stock -
Exceptionally rare, excellent reference work on artists' publications issued in 1977 by Art Metropole in Toronto, the first large-scale distributor of artists' books and publications in North America. This valuable catalogue, featuring "European titles, publications, periodicals, records, special editions, videos and films", offers works by European and American artists such as Beuys, Rainer, Polke, Art & Language, Hans Haacke, Terry Riley, Lamonte Young, Marian Zazeela, Douglas Huebler, Broodthaers, Kaprow, Piper, Buren, Reich, Cage, Snow, Darboven, Matta-Clark, Dibbets, Brion Gysin, Simone Forti, General Idea, Claes Oldenburg, Jimmy De Sana, Vito Acconci, Gilbert & George, Robert Filliou, Sol Lewitt, Ehrenberg, Filliou, Fulton, Graham, Rebecca Horn, Mel Bochner, William Burroughs, Ugo La Pietra, Urs Luthi, Hansjörg Mayer, Merz, Robert Cumming, Willats, Al Hansen, Richard Long, Philip Glass, George Brecht, Image Bank, Robert Barry, Nannucci, Donald Judd, Maria Reiche, Dennis Oppenheim, Dieter Rot, Kurt Schwitters, Giorgio Ciam, Daniel Spoerri, Ed Ruscha, Ray Johnson, Philip Corner, Bob Cobbing, Lawrence Weiner, Klaus Rinke, Les Levine, Lea Vergine, Baldessari, Ant Farm, Emmett Williams, Robert Wilson, UFO Group, Vostell, etc. with each item concisely described, and for the books, essential bibliographical information is provided. Publications from Art Metropole, periodicals, records, and videos are also listed for sale, with prices. Cover artwork features Viennese actionist Rudolf Schwarzkogler's Portfolio of the 3rd Action, which is among the selections of European artists' books. Selected b/w illustrations throughout of items listed, and full-page ads for Art Metropole's "FETISH" t-shirt and General Idea's FILE magazine.
Issued privately as a mail-out catalogue, this copy includes the AM ink stamp and Canadian postage stamp on the verso, posted in 1977 to American conceptualist photographer Les Krim, in Buffalo, New York.
Average—Good copy, some chipping to extremities, small closed tear to top-left corner of cover, generally tanned/aged newsprint.
1998,
Audio Compact Disc
1st Edition, Out of print title / as new
Published by
Document Records / Sydney
$40.00 - Out of stock
Rarely heard sound recordings by Danish Constructivist painter Albert Mertz, recorded in Paris c. 1970, and issued by Australian artist John Nixon in 1998. Mertz – Sound Experiments comprises "Drinking Glass, Pencil, Saw, Coins, Block Of Wood" and "Voice". This limited edition private-issue was co-ordinated by Lone Mertz and John Nixon in 1998 for Nixon'e Document Records in Sydney.
Albert (Axel Tonndorff) Mertz (1920—1990) was a Danish painter, early experimental film maker and art theorist. He was a renowned figure in the Danish Constructivist scene and co-founder of the Linien II artists association in 1947. He had his debut exhibition at only thirteen years old in 1933 and started at the Royal Danish Academy of Fine Arts in 1936. Several years later he became a teaching professor at the same institution from 1979 until his death in 1990. Mertz was the first Danish artist to work with film, as early as the ’40s. In the late 1950s, he associated with the German-born Arthur Köpcke who opened a gallery in Copenhagen which became popular with artists working with Fluxus and Neo-Dada. From 1962 to 1976, Martz lived in France where he painted in his typical reds and blues, while in the 1980s, he created installations with Lone Mertz in Paris and Munich.
2003,
Audio Compact Disc
Published by
Freewaysound / Melbourne
$40.00 - In stock -
Live recording of A Handful Of Dust (Bruce Russell and Alastair Galbraith) in Melbourne, Punters Club, 1999. For Patti Smith was recorded by and issued on Melbourne artist Marco Fusinato's Freewaysound label in 2002. Comprises "I Am God's Finger" (26:17) and "(From A Soundtrack To) Babelfield" (17:31). Artwork by Marco Fusinato and photograph by Chris Smith.
1998, English / Japanese
Softcover, 22.5 x 24 cm
1st Edition, Out of print title / used / fine
Published by
Korinsha Press / Japan
$550.00 - In stock -
The very rare, comprehensive monograph of Sadaharu Horio (1939–2018), one of Japan's most prominent avant-garde Gutai artists, this extremely special copy with original abstract painting on cardboard, signed by Sadaharu Horio in 1998 and pasted in as bookplate. Profusely illustrated volume of Horio's prolific artistic practice, accompanied by many texts in both English and Japanese by Tokuhiro Nakajima, Masaru Aguro, Takuro Kusano, Kazuo Yamawaki, Keiji Nakamura, Tohru Takahashi, Yuko Naka, Yasuhiko Okumura, Soshi Suzuki, and others, plus interviews with Horio, biography, exhibition history, bibliography, and much more. A valuable resource on this important post-war Japanese artist.
Sadaharu Horio studied with the founder of the movement Gutai Jirō Yoshihara and in the mid-1960s became one of the youngest members of the group, who sought to release the “cry of matter itself” through a combination of performance, painting, theater, music and installations. In the 1970s, Horio was a founding member of Bonkura, an art collective based in Paris, and in the 1980s he began his series “Atarimae no koto”, which included more than one hundred exhibitions and performances. Horio supported a decades-long practice in experimental work, using various found materials, and became a pioneer of Kobe’s modern performance art, while continuing to work in the factory at Mitsubishi until 1998. Like Gutai, his practice seeks to question the border between art and life.
Considered one of Japan’s most experimental artists of the 20th century, Sadaharu Horio (1939–2018) was one of Japan's most prominent Gutai artists and a pioneer in modern Kobe performance art. One of his best-known bodies of work is his sculptural paintings of found objects such as household detritus, string, bits of wood, branches, roots, planks, crates, boxes, stones, and leather. From the late 1960s on, his work increasingly included large-scale installation artworks, performances and interventions in urban and natural environments. His performances often spontaneously involved the audience in collective creative activities. His work is characterized by a strong connection between the act of painting and everyday life, his repudiation of distinction between high and low art, and the ease and humor with which he adapted his performances and installations to changing sites and cultural contexts, making them accessible and open for different audiences. Regardless of circumstances, Horio paints every single day in a ritual that completely integrates his art into his life. Eschewing the idea that the subject is in total control of the finished product, he follows the sequence of colours in the paint box—obeying a set formula in order to void the colours of any symbolism or implicit meaning. Horio is concerned with perpetuating the message that art-making is a day-to-day practice that anyone can engage in.
A very rare, valuable book — this copy exceptionally rare with original painting and signed by the artist!
Very Good—Fine copy, almost As New.
1991, French
Hardcover (w. 14 leporello panel book, audio cd, 8 decals) 25.8 x 25.5 cm
1st Edition, Out of print title / used / fine
Published by
Albin Michel / Paris
$150.00 $50.00 - In stock -
Rare 1991 artist's edition by French painter Hervé Di Rosa (b. 1959), a key figure in the "Figuration Libre" movement. Published by Albin Michel, CIRM, and Paris Musées, this deluxe hardcover edition edition printed in Belgium includes a silkscreened CD containing music by French electroacoustic composer Michel Redolfi (b. 1951), 8 colour art decals, and an elaborate 14-panel double-sided leporello (concertina) fold-out book that forms a gigantic colour artwork, accompanied by texts in French.
Born in Sète, France, Hervé Di Rosa (b. 1959) is a French painter who brings to life unique characters who populate his work in the form of paintings, sculptures, installations and animations. His style is similar to that of American artists Haring, Basquiat, Scharf and incorporates influences from graffiti and comic books. Di Rosa is a key figure in the "Figuration Libre" movement of French painters. His work is often humorous and brash and shows his passion for kitsch or "Art Modeste." In 2000, Di Rosa built a Museum dedicated to Modest Art in Sète, France.
Michel Redolfi (b. 1951) is a French electroacoustic composer and experimental musician from Marseille, best known for the 'underwater music' concept. In 1969, he co-founded GMEM (Groupe de musique expérimentale de Marseille) with Marcel Frémiot and Georges Boeuf.
1984, English / German
Softcover (w. 7" single-sided record), 38 pages, 22.5 x 21 cm
1st Edition, Out of print title / used / fine
Published by
Gelbe Musik / Berlin
$70.00 - In stock -
Limited edition 1984 book and single-sided 7" vinyl record by West German performance art and music group Die Tödliche Doris (Deadly Doris; a pun on tödliche Dosis, meaning lethal dose), published in an edition of 1000 by Ursula Block's Gelbe Musik, Berlin, to accompany the exhibition of Die Tödliche Doris's videos, objects, photographs, and texts. The 7" features recordings of a performance with the combustion of microphones, while the 38-page catalogue demonstrates how natural disasters can be created in your own home. "The instructions only require a few utensils: a few bells around the head, a couple of cups attached to the arms using household rubber bands, a thin offset sheet hung over the back, a metal lid between the knees, feet in water (of course, a puddle outside will do if the weather permits)."— Die Tödliche Doris. Illustrated throughout in colour and b/w. Text in English and German.
Die Tödliche Doris (Deadly Doris; a pun on tödliche Dosis, meaning lethal dose) was a performance art and music group based in West Berlin from 1980 to 1987. It was founded by band members Wolfgang Müller and Nikolaus Utermöhlen and later joined by Käthe Kruse. Rather than constructing a consistent identity, typically essential for pop music groups, Die Tödliche Doris challenged the notion of "convention" or "stereotype". Instead, they tried with each music piece and production not to follow a "style" or "image". Inspired by the post-structuralism of Baudrillard, Foucault, Guattarri and Lyotard, Die Tödliche Doris want to deConstruct ![sic] a sculpture, made by sounds. This musical, amusical or non-musical invisible sculpture should become the body of Doris itself.
Die Tödliche Doris was part of the Geniale Dilletanten movement (Ingenious Dilletantes (spelling error intentional)), which also included groups such as Einstürzende Neubauten, Die Tödliche Doris, Der Plan, Freiwillige Selbstkontrolle (F.S.K.), Palais Schaumburg, Ornament und Verbrechen, and the duo Deutsch Amerikanische Freundschaft (D.A.F.)
Berlin's gelbe MUSIK was the record store and gallery space run by Ursula Block between 1981 and 2014. During its tenure, the storefront exhibited work by artists and composers working at the intersection of art and sound, including Henning Christiansen, Maryanne Amacher, Akio Suzuki, Earle Brown and others
Near Fine copy.
1977, English
Softcover, 20 pages / 30 postcards (2 missing), 32 x 21 cm
1st Edition, Out of print title / used / average
Published by
Penguin / Ringwood
$50.00 $30.00 - Out of stock
Scarce Oz publication by the Kevin Pappas collective from 1977 made up entirely of double-sided useable colour Australian postcards on perforated card, all designed by a group of mostly Melbourne-based artist larrikins of diverse cultural backgrounds. A satirical celebration of Australian culture as only the 1970's could produce. The designer's include none other than Mimmo Cozzolino, Fysh Rutherford, Geoff Cook, Izy Marmur, Neil Curtis, Meg Williams, Con Aslanis. From late 1972 they traded together as All Australian Graphics, for which Aslanis created their mascot and brand, the fictitious Greek man/Australian kangaroo hybrid 'Kevin Pappas'. Eschewing the austere international Swiss style, they determined to create design that was distinctly Australian in flavour. This is as distinctive as it gets!
A book of 32 postcards, this copy is missing 2 (30 present and bound as issued), otherwise Good copy, light wear.
2002, English
Softcover (w. audio CD), 96 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Dream Magazine / Nevada City
$30.00 - In stock -
Rare second issue of Dream Magazine, published in Nevada City, California, by visual artist, radio DJ, music fanatic, collector of detritus and magazine publisher, George Parson, with the help of contributor Mats Gustafsson (of The Broken Face) and other floating luminaries of the 00's psychedelic /weird renaissance, a fervent period of new experimental musical activity networked by grassroots mail-orders and CD-r labels. Dream Magazine was an essential platform for writings on avant-garde, psychedelic and outsider music of all sorts, focussing on interviews with the artists, as well as writings on underground comic books, art and film. Many issues of Dream also included a bonus CD featuring unreleased or unavailable cuts from featured artists.
Dream Magazine #2:
Holger Czukay Of Can, Tony Dale of Camera Obscura Records, John Duncan, Alan Jenkins, Magic Carpathians, Magical Power Mako, Mandible Chatter, Timothy Renner, Robin Storey Of Rapoon, Abuna, Richard Adams Of Hood, Filip Ring Andersen, Bid of Scarlet's Well, Peter Blegvad (Slapp Happy, Henry Cow, Faust, Kew.Rhone), Tim Bowness Of No-Man and Samuel Smiles, Terrastock 4, Top 5 Record Labels, Greg Weeks, Jim White, Jim Woodring, hundreds of reviews, artwork, and much more...
CD features unreleased or otherwise unavailable material by: Abunai!, Greg Weeks, Missy Roback, Magical Power Mako, Magic Carpathians, The Spectral Light & Moonshine Firefly Snakeoil Jamboree, Dipsomaniacs, Jeffrey Lewis, Tanakh, es, Tim Bowness & Peter Chilvers, The Thurston Lava Tube, Mandible Chatter, Ring, Glen Johnson, Kiila, and more.
VG, CD likely unplayed.
2005, English
Softcover (w. audio CD), 128 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Dream Magazine / Nevada City
$40.00 - In stock -
Rare fifth issue of Dream Magazine, published in Nevada City, California, by visual artist, radio DJ, music fanatic, collector of detritus and magazine publisher, George Parson, with the help of contributor Mats Gustafsson (of The Broken Face) and other floating luminaries of the 00's psychedelic/weird renaissance, a fervent period of new experimental musical activity networked by grassroots mail-orders and CD-r labels. Dream Magazine was an essential platform for writings on avant-garde, psychedelic and outsider music of all sorts, focussing on interviews with the artists, as well as writings on underground comic books, art and film. Many issues of Dream also included a bonus CD featuring unreleased or unavailable cuts from featured artists.
Dream Magazine #5:
Robert Wyatt & Alfreda Benge, Gary Panter, Tom Rapp, Terry Riley, Sun City Girls, Testbild!, Bipolaroid, Crashing Dreams, Elf Power, Ghost, Rick Griffin, Mats Gustafsson of The Broken Face, Ed Hardy Of Eclipse Records, Kemalliset Ystavat, The Lost Domain, Mushroom, Marissa Nadler, 13 Nightmares, John Trubee, Jonny Trunk Of Trunk Records, Verdure, Julia Vorontsova, hundreds of reviews, artwork, and much more...
CD features previously unreleased material by: Jack Rose, Piano Magic, AqPop, Volcano the Bear, Testbild!, Julia Vorontsova, Verdure, The Lost Domain, Mushroom, and Bipolaroid. Also featuring Bob Moss doing a great previously unrecorded Tom Rapp song, and a rare John Trubee instrumental.
VG with light cover bends, CD likely unplayed.
1981, Japanese
Softcover (staple-bound), 20 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shochiku / Tokyo
$140.00 - In stock -
Wonderful, very rare Japanese souvenir photo booklet for Faces of Death 2, the controversial straight-to-video 1981 American mondo horror documentary film directed by John Alan Schwartz, the follow-up to 1978's Faces of Death, credited under the pseudonyms "Conan Le Cilaire" & "Alan Black" respectively. Mortuaries, accidents and police work are filmed by TV crews and home video cameras. Faces of Death II contained real footage of a dead body being pulled from under a pier, Guerrilla death squads in El Salvador, napalm bombings in Vietnam, Buddhist self-immolations, the drugging of a monkey, a dolphin slaughter, a train disaster in India, Cambodian patients with leprosy, a death museum featuring Joaquin Murrieta's preserved head, a driver high on PCP and a boxer going down for his “final” count. Much like the PSA Aircraft crash, the assassination attempt on President Ronald Reagan occurred recently before the film's completion, and was included as well. Heavily illustrated throughout with glossy colour and b/w stills from the film, alongside texts in Japanese about the film, cast and production information.
Very Good copy with light wear.
1973, Japanese
Softcover (staple-bound), 12 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Toho / Tokyo
$90.00 - In stock -
Wonderful, very rare Japanese souvenir photo booklet for Autopsia (Autopsy), a 1973 Spanish Mondo-style docudrama by director Juan Logar about a war correspondent who comes back home and has a spiritual crisis about his own mortality. Surreal fantasy sequences are mixed with graphic real autopsy footage. Heavily illustrated throughout with b/w stills from the film, alongside texts in Japanese about the film, cast and production information.
Very Good copy with light wear.
1972, English / Dutch
3 books, softcover, approx 360 photo cards, 13.5 x 17 cm
Ed of 700 copies,
1st Edition, Out of print title / used / very good
Published by
Sonsbeek / Arnhem
$280.00 - Out of stock
Very scarce, incredible Sonsbeek '72 complete 3 volume catalogue set, published in a limited edition of 700 copies by Sonsbeek, Arnhem, 1972. The tripartite catalogue arose from the notes and photos made of an important group exhibition where artists submitted installation or performance pieces, executed during the period November '71 - June '72. Each volume forms an alphabetical index of artist photographic cards (#1 A-H, #2 I-R, #3 S-Z), totalling approx. 360, each with the data of their artwork on the front and photographic documentation on the verso. Very beautifully executed.
Participating artists include Vito Acconci, Bas Jan Ader, Carl Andre, Richard Artschwager, Joseph Beuys, Marinus Boezem, Daniel Buren, Walter de Maria, Jan Dibbets, Ad Dekkers, Ger van Elk, Hans Eykelboom, Barry Flanagan, Hollis Frampton, Dan Graham, Douglas Huebler, Donald Judd, On Kawara, Sol LeWitt, Richard Long, Dennis Oppenheim, Nam June Paik, Panamarenko, Edward Ruscha, Wim T. Schippers, Lawrence Weiner, Tenjo Sajiki, Michael Snow, Kenneth Snelson, Eric Siegel, Paul Sharits, Wim Crouwel, Yokoyama, Claes Oldenburg, Bruce Nauman, Robert Morris, Jack Moore, Yutaka Mutsuzawa, Peter Kubelka, Hans Koetsier, Ken Jacobs, Walter de Maria, Dan Graham, Hanne Darboven, Marinus Boezem.
Very Good copies each, with light wear, spine tanning/creasing, otherwise tight and well preserved.
2003, English
Softcover, 128 pages (colour & b/w ill overprinted in black.), 33 x 24 cm
Edition of 100, plus 10 A/P,
Published by
UQ Art Museum / Brisbane
$120.00 - Out of stock
Artists' edition (100 copies) of Scott Redford’s already limited edition publication "1962: Scott Redford - Selected works 1983–1992" that have been have been overprinted entirely in black with detail images of Redford's iconic ‘black’ works, in which Redford made large collages and painted them black, signed, numbered and with a 7 inch record from the artists collection attached. "1962: Scott Redford - Selected Works 1983 - 1992" is a wonderful monograph surveying the early work of Redford, published to accompany an exhibition surveying Redford's early work at the University Art Museum, The University of Queensland, St Lucia, Brisbane, Australia. 3 October - 22 November 2003. Beautifully designed and brilliantly illustrated, this monograph brings to life Redford’s diverse work across assemblage, sculpture, painting, installation, and much more. Includes essay by Andrew McNamara and interview with Scott Redford.
Scott Redford (b. 1962 Gold Coast, Queensland) is a highly significant and influential Australian contemporary artist who has been exhibiting since the early 1980s. Redford's work is unique in its references to international art movements including colour-field painting, conceptual art and pop art, while engaging with local themes, such as Australian art history, beach culture and vernacular architecture, regularly commenting on issues of gender and identity.
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
$280.00 - 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.
2018, English / Dutch
Staple bound, 4 pages, 15 x 10.5 cm
Ed. of 300,
Published by
Stedelijk Museum / Amsterdam
$20.00 $5.00 - In stock -
"No Manifesto" from artists Rosa Johanna, Wjm Kok, and John Nixon, published by the Stedelijk Museum in Amsterdam, 22nd of February, 2018. This wonderful staple-bound publication takes the form of a Stedelijk Museum visitor's feedback form, asking "What Do You Think?", accompanied by the artist's "No Manifesto".
Limited edition of 300 copies.
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
Self-Published / 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.
1980, French
Offset printed, 54 x 39 cm
1st Edition, Out of print title / used / very good
Published by
Columbia Pictures / USA
$80.00 - Out of stock
Original 1980 vintage film poster for John Cassavetes' Gloria, one of the greatest crime thrillers of all-time, starring Gena Rowlands, Julie Carmen, Buck Henry, and John Adames. Written and directed by John Cassavetes, Gloria is an American thriller / pulp crime drama that follows a gangster's girlfriend (Gena Rowlands) who must slip the clutches of the mob with a young boy (John Adames) who is being hunted for information he may or may not have. One of the greatest gangster films ever made. Cited by Akira Kurosawa as one of his favourite films. Offset printed on fine warm white stock.
Dimensions : 54 x 39 cm
(Not a reproduction, original Columbia Pictures issue for theatre release)
Very Good copy, with light wear, standard folds and small pin-holes.
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
$180.00 - 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
$120.00 - 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.
German
Postcard, 10.5 x 15 cm
Published by
Edition Staeck / Heidelberg
$5.00 - In stock -
Joseph Beuys "Sonnenschlitten" postcard published by Edition Staeck, Heidelberg.
Joseph Beuys (1921—1986) was a German avant-garde artist. He was a sculptor, installation artist, performance artist, graphic artist, art theorist, and pedagogue. Beuys was heavily involved in Fluxus and happenings. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate and only rarely acrimonious open public debates on a very wide range of subjects including political, environmental, social and long term cultural trends. He is widely regarded as one of the most influential artists of the second half of the 20th century.
As New.
German
Postcard, 10.5 x 15 cm
Published by
Edition Staeck / Heidelberg
$5.00 - Out of stock
Joseph Beuys "We Are The Revolution" postcard published by Edition Staeck, Heidelberg.
Joseph Beuys (1921—1986) was a German avant-garde artist. He was a sculptor, installation artist, performance artist, graphic artist, art theorist, and pedagogue. Beuys was heavily involved in Fluxus and happenings. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate and only rarely acrimonious open public debates on a very wide range of subjects including political, environmental, social and long term cultural trends. He is widely regarded as one of the most influential artists of the second half of the 20th century.
As New.
2007, English / French
Softcover (leporello fold)
1st Edition, Out of print title / used / very good
Published by
Maison Martin Margiela / Paris
$100.00 - In stock -
Rare canvas covered leporello lookbook for Maison Martin Margiela '10' — '14' Spring/Summer 2007 Menswear Collection. The book features 24 photos by photographer Jacques Habbah. Each one of these lookbooks were handmade in the Parisian press office. The photos are printed and glued on a piece of white cotton cloth. They served both as an important communication tool and as an aid for wholesale clients to show perspective buyers the most representative looks of the collection.
Very Good copy.
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.
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.