World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1990, French
Softcover (w. dust jacket), 288 pages, 24 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Centre National Des Arts Plastiques / Paris
$200.00 - In stock -
First edition of the comprehensive Pierre Klossowski catalogue raisonné published on the occasion of the major retrospective exhibition of his work held in Paris in 1990-1991 at CNAP. Profusely illustrated in colour and b/w with Klossowski's wonderful works, texts throughout by Catherine Grenier, Bernard Blistene, Claude Ritschard, Pascal Bonitzer, Marie-Dominique Wicker, Franco Cagnetta, André Masson, and Pierre Zucca (in French), a densely illustrated catalogue raisonné spanning his work dated 1952/53 through to 1990 (many not seen elsewhere), biography, exhibition history, and much more. Still the most in-depth book on Klossowski's oeuvre to date.
Pierre Klossowski (1905-2001) was a significant and influential philosopher, writer, translator and artist who befriended Georges Bataille and formulated an original stance on many theological issues, as well as the philosophy of the Marquis de Sade. His first novel, Roberte, ce soir, appeared in 1954 as a limited edition containing six of his own erotic illustrations, after he rejected drawings by his younger brother, the painter Balthus. Following the encouragement of Robert Lebel, Andre Masson and Alberto Giacometti, Klossowski held his first exhibition in Paris in 1956, and subsequently produced numerous life-size drawings of erotic scenes imbued with mythological, allegorical and philosophical connotations. By the 1970s, he had won the acclaim of such eminent thinkers as Maurice Blanchot, Michel Butor, Gilles Deleuze, Michel Foucault and Felix Guattari. Of Klossowski, Gilles Deleuze once said, "That bodies speak has been known for a long time."
Very Good in Very Good dust jacket.
1970, Czech
Hardcover (w. dust jacket), 172 pages, 17 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Odeon / Prague
$120.00 - Out of stock
First edition of this major, long out-of-print hardcover monograph on Czech photographer Jaromír Funke, published by the great Prague publishing house Odeon in 1970. Profusely illustrated with 132 beautiful photo-gravure reproductions, includes some of the best known photographs from this important Czech photographer, presented alongside a text by Ludvik Soucek.
Jaromír Funke (1896–1945) was a Czech photographer. Funke was a leading figure in Czech photography during the 1920s and 1930s. Although his earliest imagery was influenced by Pictorialism, Funke quickly turned to a more sharp-focus, documentary style. Abstract images of shadows and organic forms made in the early twenties evolved into more objective representations of objects by the end of the decade. In 1924 he cofounded the Czech Photographic Society with Josef Sudek and Adolf Schneeberger. Two years later he produced a series of Surrealist images of store windows originally titled Glass and Reflection, based on the photographs of Eugène Atget. Also influential as a teacher, Funke served for several years as editor of the journal Fotograficky obzor (Photographic Horizons).
Very Good copy in Good dust jacket with some wear.
1982, Czech / English / French / German
Hardcvoer (w. dust jacket), 182 pages, 28 x 24.5 cm
1st Edition, Out of print title / used / fine
Published by
Panorama / Prague
$120.00 - In stock -
First 1982 hardcover edition of this beautifully produced retrospective survey of legendary Czech photographer Josef Sudek (1896 – 1976), famous for his haunting images photographs of Prague, where this volume was published by Panorama. Comprising almost entirely full-page reproductions of Sudek's wonderful photographs, introduced by an opening essay by biographer Zdeněk Kirschner and chaptered expanded caption sections on the works throughout with summary and resume in Czech, English, French and German.
Dubbed the "Poet of Prague," Josef Sudek became well known around the streets and concert halls of his city. A poor student, Sudek decided to become a bookbinder, receiving his certificate at age seventeen, while his younger sister became a photographer. At the same time Sudek began to experiment with a box camera and was particularly fond of self-portraits. During active service in World War I, he brought his camera to the front and subsequently produced three albums of photographs.
After the war Sudek turned his attention more fully to photography and became friendly with photographer Jaromir Funke, who introduced him to artists and intellectuals in Prague. In 1921 Sudek applied to the State School of Graphic Arts and soon after was admitted to the Bohemian Amateur Photography Association. After graduating, Sudek and Funke cofounded the Czech Photographic Society in 1924. From the beginning, Sudek met with great commercial success; he leased a studio in 1927 and prospered there for more than thirty years.
Fine copy in Fine DJ preserved under archival mylar wrap.
1960, Czech
Softcover, 126 pages, 17.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
SNKLU / Prague
$120.00 - Out of stock
Wonderful and long out-of-print Jaromír Funke monograph, published in Prague in 1960 as part of the distinctive series of Czech monographs on photographers published by SNKLU, a wing of the great Odeon publishing house. With introductory text by theorist Lubomír Linhart, this beautifully printed book presents a selection of 96 of Funke's photographs printed in gorgeous gravure.
Jaromír Funke (1896–1945) was a Czech photographer. Funke was a leading figure in Czech photography during the 1920s and 1930s. Although his earliest imagery was influenced by Pictorialism, Funke quickly turned to a more sharp-focus, documentary style. Abstract images of shadows and organic forms made in the early twenties evolved into more objective representations of objects by the end of the decade. In 1924 he cofounded the Czech Photographic Society with Josef Sudek and Adolf Schneeberger. Two years later he produced a series of Surrealist images of store windows originally titled Glass and Reflection, based on the photographs of Eugène Atget. Also influential as a teacher, Funke served for several years as editor of the journal Fotograficky obzor (Photographic Horizons).
Very Good copy. Light edge wear and tanning.
1994, Japanese
Hardcover (w. dust jacket), unpaginated, 32 x 23 cm
1st Edition, Out of print title / used / very good
Published by
? / Japan
$90.00 - In stock -
Lovely rare 1994 Japanese erotic photo book by photographer Seiichi Nomura of Japanese singer, actress and AV idol Natsuki Ozawa (b. 1972). Colour and monochrome heavy gloss imagery throughout of Ozawa at the age of 22 in various erotic poses and scenarios.
Very Good copy in VG dust jacket.
1997, Japanese
Softcover (w. dust jacket + obi), 192 pages, 15 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Heibonsha / Tokyo
$130.00 - Out of stock
First edition of one of the finest of Araki's photo books, dedicated entirely to his incredible Erotos series. Published as part of the Complete Works collection, in this work, controversial and legendary Japanese photographer Nobuyoshi Araki makes a radical departure from his usual portraits and cityscapes. A collection of arrestingly primal close-ups of parts of the body as well as various objects—pipes, fruit, wet sidewalks, flowers, snails—Erotos delves deep into the erotic subconscious. Reproduced in gorgeous glossy duotone and bound in the original jacket and publisher's obi-strip (not pictured). One our favourite bodies of work by Araki.
Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.
Very Good in VG dust jacket and obi. Sample image.
1988, English
Softcover (staple-bound), 28 pages, 30 x 20.5 cm
1st Edition, Out of print title / used / good
$15.00 - In stock -
Rare copy of Arterial magazine, published for a moment in the late 1980's out of the Monash University Union Building in Clayton, edited by Stephen O'Connell, Giacomina Pradolin, Eleni Prodromidis, Roger Leong, Robert L. Schubert... This issue featuring an interview with author Kathy Acker, Peter Greenaway, Jacques Lacan, Luce Irigaray, and more.
"Arterial's concern in this issue is no longer with a chaste field of investigation whose broad rubric is both 'visual and 'art. The term is emasculated as the visual transgresses into the literary, the psychoanalytic, the anthropological. Unfurling in this way, a polymorphous collection of works undermines its coherence. Greenaway, Acker, Lacan are all on Separate Tables, eating the same menu perhaps - language. Thinking of de Mann, ours is a rhetorical strategy. The type which pushes the question of language to the fore, demanding that 'art' be re-thought in terms of language, "and in this movement art and language are transformed together, neither remains what it was.""—from the introduction
Good copy with some cover wear.
1982/1992, Japanese
Softcover, 192 pages, 21 x 14.5 cm
Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$60.00 - In stock -
"Corpse" Special Feature Issue of cult Japanese underground magazine Yaso, first published in 1982, then re-printed in 1992, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese that look at the theme of death and the dead in the arts, literature, occultism, ancient sciences, philosophy, mythology, poetry, film, crime, and much more. Features John Duncan, Tetsumi Kudo, Cosey Fanni Tutti, Masahisa Fukase, Franz Kafka, Johann Wolfgang von Goethe, Guillaume Apollinaire, Joe Potts (LAFMS), Takashi Ishii, Rudolf II — Holy Roman Emperor, Akinari Ueda, Marcel Duchamp, Chris Burden, Paul Celan, Alain Resnais, Gilyak Amagasaki, Shusaku Arakawa, Pieter Bruegel the Elder, Shuji Terayama, Andy Warhol, Charles Manson, Brian Wilson, Kyoko Endoh, Princess Yongtai, Salvador Dalí, Ono no Komachi, Kiyoshi Kasai, Caravaggio, Throbbing Gristle, Takizawa Bakin, Leno and Rosemary LaBianca, Manson Family, Fyodor Dostoevsky, Wu Zetian, Genesis P-Orridge, Yusuke Nakahara, Ranpo Lagrange, Mitsusada Fukasaku, Nakai Hideo, Richard Wagner, and many more.
Very Good copy.
1974, English
Softcover, 628 pages, 26.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Whole Australian Catalogue Publications / Melbourne
$150.00 - In stock -
The wonderful PIE Anthology, published in 1974, a huge 628-page collection of underground poetry, literature, paintings, drawings, collages and photographs by young Australians. With front cover painting by Dale Hickey, PIE is a phone-book sized capsule of the artistic universe that orbited around two of Melbourne's most important counterculture bookshops — Source Books from America (known as The Source — on Collins Street, then on Manchester Lane next to Archie & Jugheads Records and staffed by Robert Rooney) and Whole Earth Bookstore (known as Whole Earth — on Bourke Street, opposite Pellegrini’s) established by Paul and Ann Smith and Alex Morton in 1969 and 1973 respectively.
Edited by Paul Smith, PIE captures an esoteric blend of "Whole Earth/Source" alternative living culture, cosmic spirituality and philosophy with conceptual art, photo documents and experimental, concrete and visual poetry, featuring the texts and artworks of many notable Australian artists and poets, including contributions by Mirka Mora, Jas H. Duke, Ken Bolton, π.o., Charles Buckmaster, Alex Selenitsch, Walt Whitman, Michael Dugan, Mal Morgan, Shelton Lea, John Tranter, Phil Motherwell, Peter Murphy, Bob Weis. File alongside The Carrionflower Writ, Collective Effort Press, Fitzrot, and the like.
Very Good copy with light cover wear, tanning.
2013, Japanese
Softcover (w. dust jacket), 96 pages, 19 x 13 cm
Published by
Atelier Third / Tokyo
$35.00 - In stock -
Out-of-print full-colour collection of guro manga master Shintaro Kago's “funny girl” painting series. Page after page of Kago's skin-crawling lolita-hell cutesy-horror in overdrive.
Shintaro Kago (b. 1969) is a Japanese guro manga artist. He debuted in 1988 on the magazine COMIC BOX. Shintaro Kago's style has been called "fashionable paranoia," although he has stated the term stems from Western media and he doesn't use it himself. He has been published in several adult manga magazines, gaining him considerable popularity. Many of his manga have strongly satirical overtones, often parodying Japanese politics. Separately, he deals extensively with grotesque subjects such as extreme sex, rape, scatology and body modification (to the extent of forniphilia). He has also written non-guro sci-fi manga, most notably Super-Conductive Brains Parataxis for Weekly Young Jump. Many of his shorts are experimental and bizarre. He frequently breaks the fourth wall, and he likes to play with the page layout in extreme ways, mostly for comedic effect. When asked about his influences, he's mentioned Shigeru Mizuki, Fujiko Fujio, Masamune Shiro, and Katsuhiro Otomo.
Fine—As New copy.
1953, Japanese
Softcover, 334 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Nihon Tokushu Publishing / Tokyo
$90.00 - Out of stock
Very rare copy of 1953 special "Secret" edition of Fuzoku Soushi, one of the first Japanese Kinbaku/SM magazines to exist, alongside Yomikiri Romance and Kitan Club, edited by Nomura Yoshihide, Ujiie Fura, and Murata Kiyoshi and first published in 1953 to only last one year before authorities put an end to it. Features a full-colour fold-out artwork by legendary Japanese fantasy artist Ayako Nakagawa. Fuzoku Soushi, which was adorned with a series of gorgeous painted covers by master artist Ran Akiyoshi, was a strong rival to Kitan Club, but with a more lavish production, pronounced artwork galleries by many of the leading SM illustrators and very progressive fictional and critical content on all manner of sexual perversions and customs, contemporary, historical, political, including roundtable discussions between people of all walks of cultural life (from medical doctors to Buddhist scholars) to original Japanese erotic fiction and translations of many Europeans stories and essays. Fuzoku Soushi was also heavy with lesbian and male homosexual content and featured female authors.
Fuzoku Soushi featured a remarkable cast of artists and writers, including Seiu Ito, Ran Akiyoshi, Takahashi Tetsu, Matsui Ryōko, Toshiyuki Suma, Ayako Nakagawa, Reiko Kita (Suma Toshiyuki), Hideo Furusho, Tamaki Kitahara, Yanome Genichi, Kazuhiko Kabiya, Eizo Nakano, Yo Masaoka, Tosuke Takeno, Imao Hirano, Hiroshi Hara, Nobuo Sakanoue, Shigeru Kayama, to name a few. Packed with expressive sadism, masochism, fantasy and perversion in the form of brilliant paintings, photography, illustrations, articles, fiction, Fuzoku Soushi, in its brief and controversial lifespan, became one of the most influential SM magazines ever published.
Good—VG copy with some wear to extremities, tanning, minor closed tears to cover edges, but with the full-colour Ayako Nakagawa fold-out painting present.
2004, Japanese
Softcover, 176 pages, 24 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$65.00 - In stock -
"Doll" Special Feature Issue of cult Japanese underground magazine Yaso, published in 2004, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Heavily illustrated with texts in Japanese with in-depth profiles, interviews and essays on leading artists that work with dolls, including contemporary Japanese masters of doll art, Koitsukihime, Katan Amano, Etsuko Miura, Yoshiko Hori, Yogu, Simon Yotsuya, Ryo Yoshida, Akiyama Mahoko, Mari Shimizu, influential Gothic Lolita illustrator Mitsukazu Mihara, Nori Doi, legendary Czech artist and animator Jan Švankmajer, Polish artist and theatre director Tadeusz Kantor, Japanese photographer Miwa Yanagi, film-maker Floria Sigismondi, Louise Bourgeois, Slawomir Rumiak, Nori Doi, and a fantastic illustrated book guide of doll-related art books and literature, from Mary Shelley to The Surrealists, Hans Bellmer, Ken Katayama, Pierre Mollinier, Makoto Aida, Irina Ionesco, H.R. Giger...
Very Good copy with some wear to cover extremities.
1976, Japanese
Hardcover, 88 pages, 26 x 23.7 cm
Ed. of 600,
1st Edition, Out of print title / used / very good
Published by
TB Design Institute / Japan
$450.00 - In stock -
Rare, first, limited edition printing of Gashō Yamamura's 1976 masterpiece, "Plants", for which he won the 1st Ina Nobuo Award in the same year. After Yamamura (b. Osaka, 1939—1987) began photographing plants in 1974, he published two incredible, largely unknown collections of his otherworldly botanical photo-studies before his sudden death by suicide in 1987 — “Plants” (1976) and “Botanical Planetarium” (1988). Yamamura's plant photography is like no-other. "Caught in stroboscopic light, the plants stiffen momentarily; they emerge as strange shapes not seen in natural light, rising up and towering high as if by desire." [...] "The perspective is different to how we usually see flower beds and plants; there are no downwards, surveying gazes. Instead, many of Yamamura’s photographs employ an upwards angle, taken in close vicinity to the plants, the way a bug would see them. Here, even the tenderest of flowers appear as bold, towering structures. With this insectuous, un-human perspective, Yamamura carves out the strange and unfamiliar hiding in everyday reality and questions a way of looking that turns its subjects into mere trivialities." [...] "The sights that Yamamura captured expose plants as strange entities that exist in indifference towards human life. At the same time, they let us imagine a world before the presence of human life, or perhaps the world after our disappearance from this earth."—Mika Kobayashi, photography researcher
Includes poetry by Yasuo Fujitomi.
Highly recommended, an absolute favourite.
Yamamura began photographing in high school, focusing mainly on the children in his neighborhood. In 1959, he turned his attention to Americans living in Washington Heights, a residential area in central Tokyo that housed soldiers and their families. His images of American children, shot through fences or wearing masks, convey not only a sense of sinister strangeness and distance, but also the stark economic differences between American and Japanese children immediately after the war. He began photographing plants in the mid-1970s and continued to do so until his suicide at age 47 in 1987.
Very Good copy, internally perfect FINE copy, light cover wear. Limited edition of 600.
2005, English / German
Softcover, 192 pages, 22.5 x 27 cm
1st Edition, Out of print title / used / fine
Published by
Walther König / Köln
$280.00 - In stock -
Rare copy of Rosemarie Trockel's Post Menopause catalogue (raisonné), published on the occasion of the major 2005—2006 exhibition Rosemarie Trockel: Menopause, at the Museum Ludwig, Köln, and MAXXI-Museo nazionale delle arti del XXI secolo, Rome.
This wonderful, major survey disappeared from print very fast, quickly becoming a valuable item in the mid-2000s. A catalogue raisonné of sorts, collecting Rosemarie Trockel's work from 1980—2005 (sculpture, wool works, drawings, publications, garments, photography, video — including many very rarely seen objects), Post Menopause remains one the best, most comprehensive, and Trockel-esque books produced on one of Germany's most important and influential conceptual artists. Not surprisingly, since Post Menopause was realised in close collaboration between Trockel herself with Museum Ludwig curator Barbara Engelbach, and designed by her regular design collaborator, and sometimes muse, the great graphic designer Yvonne Quirmbach. Extensive chronological cataloguing of all works, biography, bibliography, and bilingual (English and German) essays by Brigid Doherty, Silvia Eiblmayr, Barbara Engelbach, Kasper König, and Gregory Williams.
A highly recommended and invaluable resource on the artist.
Rosemarie Trockel (*1952) is widely regarded as one of the most important and influential conceptual artists in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system.
Fine copy.
1985, Japanese
Softcover (staple-bound), 16 pages, 25.7 x 18.2 cm
1st Edition, Out of print title / used / fine
Published by
? / Japan
$80.00 - In stock -
Very rare Japanese brochure from around 1985, promoting the release on VHS (we think!) of La Planete Sauvage (Fantastic Planet), the 1973 French/Czech experimental science fiction animated film, directed by René Laloux and written and designed by Laloux and illustrator Roland Topor. The film was animated at Jiří Trnka Studio in Prague. The allegorical story, set on the distant planet Ygam, is based on the 1957 novel Oms en série by French writer Stefan Wul. Enslaved humans called Oms are the playthings of giant blue native inhabitants, the Draags. Terr, kept as a pet since infancy, escapes from his gigantic child captor and is swept up by a band of radical fellow Oms, who are resisting the Draags’ oppression and violence. La Planete Sauvage was awarded the Grand Prix special jury prize at the 1973 Cannes Film Festival. It is one of the greatest animations ever made.
This collectible brochure gives synopsis and introduction to the film, illustrated throughout with stills, Topor's designs, Japanese texts, cast and catalogue information. A wonderful piece of printed history to René Laloux's chilling psychedelic masterpiece.
Very Good—Fine copy.
1971, Japanese
Hardcover (w. dust jacket), 96 pages, 38 x 26.5 cm
1st Edition, Out of print title / used / very good
Published by
Shashin Hyoron-Sha / Tokyo
$350.00 - In stock -
First 1971 edition of Eikoh Hosoe's celebrated work "Embrace", published by Shashin Hyoronsha Publishing House. 6 years later it would be republished in the collection of Japanese photographers by Asahi Sonorama. This beautiful oversized original hardcover edition by legendary Japanese photographer Eikoh Hosoe, builds upon the approach of his much celebrated earlier project, Man and Woman (1961). Featuring a preface by Yukio Mishima, "Embrace" is a wonderful collection of photographs of human bodies studio shot in abstract detail using high exposure, Hosoe creating dramatic contrasts that emphasise the dynamism and physicality of these bodies that have become some of his most iconic images. Rich black and white gravure printing, a gorgeous book.
VG—NF copy in VG—NF dust jacket. This copy lacks the publisher's shipping box.
1995, Japanese
Hardcover (w. dust jacket and obi-strip), 200 pages, 27 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Libro Port Publishing Co. Ltd. / Tokyo
$100.00 - Out of stock
Scarce, first hardcover edition of this wonderful 1995 Araki photo album. From cover to cover this book is entirely comprised of Araki's date-stamped photographs taken in the year 1995, presented chronologically and in rich colour. Araki documents all his favourite subjects — women, nudes, flowers, still-lifes, Japanese city details and his beloved cat Chiro, all in amazing panoramic format. Robert Frank and Nan Goldin even make appearances. The landscape format of this hardcover book allows for the images to be grouped into selections of two per page (four per spread) or a glorious single shot spanning a spread, making a jam-packed collection of almost 400 photographs. One of his best collections.
Very Good copy with Good dust jacket and obi-strip.
1993, Japanese / English
Hardcover (w. dust jacket), 144 pages, 23 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Libro Port Publishing Co. Ltd. / Tokyo
$220.00 - In stock -
Never to be missed, the first 1993 over-sized hardcover edition of Araki's incredible Erotos photo book, our favourite of his books. In this provocative work, controversial and legendary Japanese photographer Nobuyoshi Araki makes a radical departure from his usual portraits and cityscapes, zooming his lens in on his evocative subjects. An exquisitely printed collection of arrestingly primal close-ups of parts of the human body, as well as pipes, fruit, wet sidewalks, flowers, snails—Erotos delves deep into the erotic subconscious. Reproduced in gorgeous glossy duotone full-page bleed, bound in heavy gloss red, foiled hardcovers. A stunning book! Araki at his most surrealist. Highest recommendation.
Nobuyoshi Araki is a prolific Japanese photographer who has produced thousands of photographs over the course of his career. He became famous for “Un Voyage Sentimental” (1971), a series of photos depicting both banal and deeply intimate scenes of his wife and lifelong muse, essayist Aoki Yoko (whom the artist credits for making him a photographer), during their honeymoon. To date the 75 year old has produced 450 photo books and counting. With a repertoire that knows no boundaries, Araki's diaristic style of photography has captured the world around him (his cat Chiro, the people and landscapes of Japan and his travels, flowers, family), though it is Araki’s intensely sexual imagery that has elicited particular controversy and fascination throughout his career. Similarly to Helmut Newton, Araki has often addressed subversive themes — such as bondage in the Japanese style Kinbaku — in his provocative depictions of female nudes. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. Pushing against the world of commercialised photography, he is celebrated for his history of self-publishing and distributing his work, beginning with his Xerox Photo Albums of 1970. Amongst many others, Araki has collaborated with American photographer Nan Goldin and Icelandic musician Björk.
Very Good copy in Very Good dust jacket with small amount of wear and tear.
1982, French
Softcover, 28 pages, 37.5 x 28.5 cm
1st Edition, Out of print title / used / good
Published by
Créatis / Paris
$50.00 - In stock -
Issue no. 18 of Créatis, June 1982, the wonderful French photographic art magazine published in Paris, founded in 1979 by Albert Champeau and Jean-Pierre Renard. This issue features Christer Strömholm, Joel-Peter Witkin, Alain Bergala, Jeff Silverthorne, Pierre Boucher, William Klein, Roland Barthes, and more.
Average—Good copy due to gloss laminate covers peeling to edges, some pinching to spine, tanning to edges.
1982, French
Softcover, 50 pages, 37.5 x 28.5 cm
1st Edition, Out of print title / used / average
Published by
Créatis / Paris
$40.00 - In stock -
Special double issue (19 & 20) of Créatis, Autumn/Winter 1982, the wonderful French photographic art magazine published in Paris, founded in 1979 by Albert Champeau and Jean-Pierre Renard. This issue features Irina Ionesco, Alfred Stieglitz, Jean Dieuzaide, Stefan de Jaeger, Peter Hujar, Susan Sontag, Corinne Bronfman, Edgar Degas, Douglas Crimp, Raúl Beceyro, Charles Gatewood, Didier Gaillard, Lynn Davis, and more.
Average copy due to gloss laminate covers peeling to edges and resultant tanning, some pinching to spine, tanning to edges.
1986, English
Softcover (staple-bound), unpaginated, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Self Published / Melbourne
$100.00 - In stock -
Extremely rare, private-issued 1986 Christmas gift publication compiled by Nobel Peace-winning writer, researcher, and activist, Richard Tanter, "for my friends, Christmas 1986". The publication is a personal and diverse selection of poems and small texts for Richard's friends, rich with progressive, libertarian sentiment and revolutionary struggle, reflective of Richard's devoted political work. Includes many works by Bertolt Brecht, Chris Mann, Ursula Le Guin, Samih al-Qasim, Sitor Situmorang, John Berger, V. S. Naipaul, Hans Magnus Enzensberger, Ingeborg Bachmann, John Duigan, Percy Bysshe Shelley, I.F. Stone, Dorothee Sölle, Wendy Poussard, Kim Chi-ha, Sadako Kurihara, Ho Chi Minh, George Woodcock, Emily Dickinson, A. D. Hope, John Dowland, Dorothy Parker, Stephanie Smolensky, David Malouf, Robin Morgan, Attila József, Victor Serge, and Richard Tanter. An incredible collection, and a very rare insight into the literary heart of Tanter.
"These are poems I've come across in the last year or so, and which I've put together as a Christmas and New Year present for friends. Some are well-known; others not. They are all poems I like for one reason or another, and which I think that most people or particular people will enjoy reading and speaking. There's lots of Brecht because I like reading him, and Ursula Le Guin for the same reason — but fewer people know of her poetry. Several poems are by friends — thanks for letting me use them here. A couple are my own, and are obviously only included for friends.
Like most other Australians I developed a trained incapacity to enjoy or read poetry at school, followed by a horror flight from Eng Lit. Now I feel more unashamedly instrumental about it all — I read and look for what makes more sense of the world and my feelings. And for the speaking of the words.
Another year.
—Richard"
Hand typeset, photocopy printed and bound, this copy was gifted to Australian experimental composer Warren Burt. Inscribed to title page by Richard.
Professor Richard Tanter is a writer, researcher, and activist. He has worked on issues around militarization in Asia, nuclear weapons, and the role of intelligence agencies in Indonesia, Japan and Australia. More recently Richard and the late Des Ball produced eight forensic research papers on Pine Gap. This work underpinned Richard’s campaign role with other colleagues on the Australian board of ICAN. In 2017, ICAN was awarded the 2017 Nobel Peace Prize for its work in helping in the passage of the Treaty for the Prohibition of Nuclear Weapons at the United Nations.
Very Good copy with light edge wear only.
1994, English
Softcover, 176 pages, 23 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$45.00 - Out of stock
First English printing from the legendary Atlas Press, London.
"DADA MEANS NOTHING!" So proclaimed Tristan Tzara, the movement's tireless publicist. Yet this did not prevent the most fanatical and talented artists and writers across Europe from rushing to join its ranks. Anti-war, anti-art, anti-dada, from its beginnings in Zurich during the first World War the dadas swept aside the cultural, philosophical and political norms of their time. Utter disgust with a society that had created the war (and then expected to survive the peace) spurred them to ever greater demonstrations of revulsion and derision. Yet it was not all nihilism: many factions worked within the Dada Movement and it was Huelsenbeck's intention to embody most of them in the Dada Almanac. The largest collection of Dadaist texts ever assembled by the movement, it was originally published in 1920 in a mixture of French and German.
The Dada Almanac was truly international in scope, with substantial sections from the Swiss and French sections of the movement, it embodies Dada's failings as well as its successes, its excesses, its seriousness, its idiocy, but above all the anarchic vitality which made it such a vital precondition for so much that followed in the fields of art, literature and general cultural terrorism.
The editors of this first English translation have added dozens of other relevant texts, documents, portraits etc, as well as explaining contemporary references and events and providing biographies of the numerous personalities involved.
Very Good copy, light wear.
1986, English
Hardcover (w. dust jacket), 216 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Columbia University Press / New York
$40.00 - In stock -
First hardcover edition of Danto's The Philosophical Disenfranchisement of Art. This acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. The book's impact—especially the essay "The End of Art," which dramatically announced that art ended in the 1960s, made a profound impression on art theory going forward and continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians.
Arthur Coleman Danto (1924— 2013) was an American art critic, philosopher, and professor at Columbia University. He was best known for having been a long-time art critic for The Nation and for his work in philosophical aesthetics and philosophy of history, though he contributed significantly to a number of fields, including the philosophy of action. His interests included thought, feeling, philosophy of art, theories of representation, philosophical psychology, Hegel's aesthetics, and the philosophers Friedrich Nietzsche and Jean-Paul Sartre.
NF copy in VG—NF dust jacket protected under mylar wrap.
1985, English
Hardcover (clothbound), 136 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Pendragon Press / New York
$180.00 - In stock -
Very rare first 1985 hardcover English translation of the thesis defence of Romanian-born Greek-French avant-garde composer Iannis Xenakis (1922—2001), tape recorded for a "Doctorat d'État" at the Sorbonne in Spring 1976 before composer Olivier Messiaen, art critic Michel Ragon, philosopher Olivier Revault d'Allonnes, philosopher Michel Serres, and philosopher Bernard Teyssèdre (all dialogues recorded within). Translated to English for the first time by Sharon Kanach.
In this fascinating essay Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. A complete list of works and bibliography are included. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in detail his unique use of computers as a graphic tool in the composition of some of his scores. Unexpected aspects of his character are gracefully revealed in these highly readable exposés.
Xenakis is responding to a panel of noted French masters from the various disciplines in which he has worked and cleverly manages to answer specific questions in one field while simultaneously addressing perhaps less-initiated exponents from other, seemingly unrelated areas. He succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their inter-dependency as in the components of alloys.
Very Good copy with some very light marks to cloth covers. Please note this is the first 1985 printing, rather than the later 1994 printing, also scarce.