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:
OPEN 12—5 THU—FRI
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
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.
1971, German
Softcover, 134 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Walter Zürcher Verlag / Gutendorf
$500.00 - Out of stock
The very rare first 1971 edition of H.R. Giger A Rh+, Giger's first mythical book, and still the most special (in our opinion). Designed by the young artist himself and published independently in a limited edition in 1971 by Swiss esotericist Walter Zürcher, A Rh+ is Giger's very first oeuvre catalogue — filled entirely with black-and-white documentation of the first major work groups of the fantastic Swiss surrealist painter, sculptor and set designer Hans Rudolf “Ruedi” Giger, spanning his earliest grotesque ink cartoons and introducing his "biomechanical" paintings (while the ghost of Alfred Kubin still looms heavily), along with his early film works including Heim-Killer (1967) and Swiss Made (1968), his early sculptures, furniture pieces, exhibitions, prints, theatre work, the “Poëtenz-Show” work and his collaboration with anarchic collective and political "krautrock" group Floh de Cologne. Accompanied by sketches, clippings and photographs of Giger and accomplices in the studio, posing with works, in the forest, etc. A Rh+ has a very private and occult feel, augmenting the mysterious quality of these wonderful early visions of the macabre. An incredible and scarce document that did not see distribution much further than Giger's own circles. A long out-of-print, collector's item.
Very Good copy.
2000, English / Spanish
Softcover, 152 pages, 28 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
National Museum of Women in the Arts / Washington
$250.00 - Out of stock
Rare catalogue published the first major exhibition of Varo's art in the United States hosted by the National Museum of Women in the Arts in Washington, DC., studies the full range of Varo's work. Lavishly illustrated, presenting 77 of the finest paintings by one of Mexico's foremost modern artists and leading practitioners of surrealism and focusing on the main aspects of Varo's career over twenty-five years, this volume affords a rare opportunity to appreciate the full scale of her artistic vision. It considers her formal artistic training in the rigid academic atmosphere of the Real Academia de Bellas Artes de San Fernando in Madrid, and her sojourns in Paris in 1930 and 1937, which brought Varo into contact with the surrealist movement of Andre Breton that was to define her artistic expression for the rest of her career. The main part of the book is devoted to the period following her exile in Mexico in 1940. It was here that Varo's art became fully defined, and where she was recognized and championed by leading intellectual figures, such as the poet Octavio Paz.
Bilingual text in English and Spanish, with essay by Luis-Martin Lozano and text by Elizabeth Goldson. Includes exhibition checklist, biographical sketch and selected bibliography.
Very Good copy with only light wear.
2011 / 2014, English
Softcover, 359 pages, 17 x 22cm
Published by
IMA / Brisbane
Power Publications / NSW
$50.00 - Out of stock
Edited and introduced by Ian McLean.
How Aborigines Invented the Idea of Contemporary Art is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring ninety-six authors—including art critics and historians, curators, art centre co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists—it conveys a diversity of thinking and approach. Together with editor Ian McLean’s important introductory essay and epilogue, the anthology argues for a re-evaluation of Aboriginal art’s critical intervention into contemporary art since its seduction of the art world a quarter-century ago.
What lies behind the indigenousness of Aboriginal art is a return of the repressed with a vengeance, an enhanced creativity capable of challenging the colonial order. In this anthology, Ian McLean has brilliantly put together a theoretical discourse that examines critically this multilayered—though sometimes contradictory—complexity of Aboriginal art.—Rasheed Araeen
Ian McLean is one of Australia’s leading art historians and the first to write broadly and inclusively about the place of Aboriginal art in contemporary Australian art theory and practice. The anthology guides us through the complex recent literature on Aboriginal art and provides a context for understanding current debates and emergent interpretations of the significance of this exciting new intervention in world art.—Howard Morphy
IAN MCLEAN is a well-known commentator on Aboriginal and non-Aboriginal Australian art and the intersection of Indigenous and settler cultures. He is the author of The Art of Gordon Bennett and White Aborigines: Identity Politics in Australian Art. He is a member of the Advisory Council of Third Text, and professor of Australian art history at the University of Wollongong.
2023, English
Softcover, 224 Pages, 23.5 x 18 cm
Published by
Semiotext(e) / Los Angeles
$39.00 - Out of stock
Edited by Robert Leonard
Foreword by Chris Kraus
Artist, gallerist, and writer Giovanni Intra's inventive approach to art writing provides a guide to the New Zealand and Los Angeles art scenes of his era.
Everything you read about Los Angeles is true. The city adapts to its own mythology. It's such a ludicrously discussed place that I always feel slightly idiotic in my attempts to produce a serious discourse about it. Raves in the desert, however, are superb. And ecstasy is a great drug. Also, if you hadn't heard, music sounds better when you're high. And the desert surrounding LA is wondrous.—Giovanni Intra, "LA Politics"
Before his early death in 2002, Giovanni Intra enjoyed a rollercoaster ride through the art world. He was an artist and gallerist-cofounding two legendary galleries, the artist-run space Teststrip in Auckland and China Art Objects Galleries in Los Angeles-as well as a writer. Clinic of Phantasms provides a guide to the New Zealand and Los Angeles art scenes of the day, including texts on key artists from New Zealand (John Hurrell, Fiona Pardington, Denise Kum, Ava Seymour, Ann Shelton, Gavin Hipkins, Daniel Malone, and Slave Pianos) and Los Angeles (Charles Ray, Mike Kelley, Paul McCarthy, Dave Muller, Evan Holloway, John McCracken, and Julia Scher).
What makes Intra's work of enduring significance is his inventive approach to art writing, which was informed by his interest in punk, surrealism, and Daniel Paul Schreber, the famous case study in paranoia and hallucination. This volume features writing on Intra from Chris Kraus and Mark von Schlegell, Andrew Berardini, Roberta Smith, Tessa Laird, Will Bradley, Joel Mesler, and Robert Leonard.
"He emerged the radically elegant punk, whip-crack smart and charming as hell . . . The hilarious honesty and sharp intelligence of Giovanni was to me a breeze, a knife, a wonder."—Andrew Berardini, "Everything You Read About Giovanni Intra is True"
Published by Bouncy Castle and Semiotext(e).
2023, English
Softcover, 22.86 x 15.24 cm
Published by
Hauser & Wirth / Zurich
$69.00 - In stock -
The classic, intimate memoir of the artist by Guston's daughter, with a new afterword by Mayer
Philip Guston (1913-80) is one of the outstanding figures in 20th-century American art. Beginning as a muralist in the 1930s, Guston embraced the lyrical vocabulary of Abstract Expressionism in his paintings and drawings after his move to the East Coast. Following an artistic crisis in the mid-1960s, his return to figuration—focusing first on simple things of ordinary life, later evolving to the enigmatic and iconic cartoonlike forms for which he is now best known—shook the art world.
Night Studio is a deeply personal account of growing up in the shadow of a great artist, a daughter's quest to better understand her father, based on letters and notes by the artist and interviews with those who knew him. First published to critical acclaim in 1988, this richly illustrated new edition includes a new afterword by Mayer.
Musa Mayer's first book about her father, the memoir Night Studio, was published in 1988 by Alfred A. Knopf. A lavishly illustrated new edition was published in 2016 after Hauser & Wirth took over the representation of the estate of Philip Guston from the McKee Gallery. Since her retirement from a 25-year career as a research and patient advocate for people living with breast cancer, she has curated Guston exhibitions in New York, London, Hong Kong and Los Angeles. Her second book with Hauser & Wirth Publishers, Philip Guston: Nixon Drawings 1971 and 1975, coauthored with Debra Bricker Balken, was awarded the FILAF d'Or international prize as the best international art book of 2017. Besides managing the estate of Philip Guston, Mayer is president of the Guston Foundation, whose projects include the website PhilipGuston.org, which is built around a chronology of Guston's career and exhibition history as well as catalogues raisonn s of his paintings, drawings and archives. Mayer lives in New York City with her husband, Tom.
1990, Japanese / French / English
2 volumes in cardboard slipcase (w. adhered Man Ray "stamp"); volume 1 68 pages (colour ill.) volume 2 196 pages (b/w ill.), 22.5 x 29.5 cm
1st Edition, Out of print title / used / very good
Published by
Sezon Museum of Art / Tokyo
$120.00 - Out of stock
Wonderful, visually exhaustive two-volume boxset catalogue for the traveling exhibition held on the centenary of Man Ray's birth in Japan in 1990-1991.
Each volume of this Japanese publication on the American artist Man Ray serves as a wonderful index of his incredible lifetime of work. Born Emmanuel Radnitzky in 1890 in Philadelphia, Pennsylvania, Man Ray was a renowned representative of avant-garde photography in the 20th century and is considered as the pioneer of Surrealist photography. A major contributor to the Dada and Surrealist movements, although his ties to each were informal, Man Ray produced major works in a variety of media including drawings, objects and films, but considered himself a painter above all. Volume One compiles many examples of his diverse non-photographic works, reproducing his many paintings, drawings, objects, prints and book editions in full colour. Volume Two (the heavier of the two volumes) focuses on his prolific photographic work, copiously illustrated with a huge catalogue of beautifully reproduced monochromatic works throughout his entire career -- Paris, America, Dada, Surrealism and beyond -- showcasing his significant contribution to the evaluation of photography as a form of modern art.
Accompanying texts by Merry Foresta, Lucien Treillard, Toshiharu Ito in Japanese, French and English. Primarily in Japanese language. Includes full biography, bibliography and catalogue of all works.
Good-Very Good copy. Tanning to slipcase, light wear to cover otherwise Very Good in general.
1979, English
Softcover, 300 pages, 15.24 x 22.86 cm
1st Edition, Out of print title / used / good
Published by
Harper and Row / New York
$30.00 - Out of stock
First edition of Symbolism, published by Routledge in 1979, the last major study by Robert Goldwater who passed away suddenly prior to its completion. Goldwater (1907—1973) was an art historian, African arts scholar and the first director of the Museum of Primitive Art, New York, from 1957 to 1973. He was married to the French-born American artist and sculptor Louise Bourgeois.
Of all the European artistic movements of the nineteenth century, Symbolism is perhaps the one with most resonance today. A major but short-lived style, it set the foundations of modern art in the first decade of the twentieth century. Art Nouveau, in France and Britain, and Jugendstil in Germany are two major movements associated with Symbolism that together can be seen as the foundation of Cubism, Expressionism, Futurism, and Abstract Art. Beginning in the 1880s, it can be described as a reaction against Naturalism and Impressionism. In broader terms, Symbolism could be defined as a philosophical idealism in revolt against a positivist and materialistic attitude that affected not only painting and literature, but life altogether. For the Symbolists the importance of art lay precisely in its ability to reach beyond realism. Their search for the mysterious reality behind appearances resulted in an art that aimed at representing inner states through generalized figures and congruent, "emotionalized" settings. The viewer was asked to re-experience the emotions that the artist had felt in front of his motif. In this way the artists hoped their subjectivity would become meaningful for humanity at large. These aesthetics anticipate certain ideas at the base of Abstract Art, which is one of the reasons for the appeal of Symbolism today. Another is the Symbolists' concern with refined, even morbid sensibility, with subli-mated sexuality, with the reality of evil, and with love and death as the two poles of human experience.
With singular erudition and insight, Robert Goldwater traces the history and evolution of the movement beginning with Gauguin's revolutionary paintings of the 1880s and ending with the last outposts in Vienna, Holland, and Scotland. Among the artists discussed are Gauguin, Redon, Van Gogh, Munch, Rodin, Klimt, Seurat, Klinger, and Ensor. Profusely illustrated throughout.
Good copy with light wear and marginalia in pen.
2009, English
Softcover, 344 pages, 23 x 15 cm
1st Edition, Out of print title / as new
Published by
University of Chicago Press / Chicago
$70.00 $30.00 - In stock -
Who gets to say what counts as contemporary art? Artists, critics, curators, gallerists, auctioneers, collectors, or the public?
Revealing how all of these groups have shaped today's multifaceted definition, Terry Smith brilliantly shows that an historical approach offers the best answer to the question: What is Contemporary Art? Smith argues that the most recognisable kind is characterised by a return to mainstream modernism in the work of such artists as Richard Serra and Gerhard Richter, as well as the retro-sensationalism of figures like Damien Hirst and Takashi Murakami. At the same time, Smith reveals, postcolonial artists are engaged in a different kind of practice: one that builds on local concerns and tackles questions of identity, history, and globalisation. A younger generation embodies yet a third approach to contemporaneity by investigating time, place, mediation, and ethics through small-scale, closely connective art making.
Inviting readers into these diverse yet overlapping art worlds, Smith offers a behind-the-scenes introduction to the institutions, the personalities, the biennials, and of course the works that together are defining the contemporary. The resulting map of where art is now illuminates not only where it has been but also where it is going.
2012, English
Softcover, 96 pages, 21.8 x 28.7 cm
Published by
Walther König / Köln
$115.00 - Out of stock
Rare English edition of this 1992 monograph on American artist Mike Kelley.
Harald Falckenberg, one of the most important collectors of Mike Kelley's works, gives in his essay a detailed overview over the various periods in the development of this artist. In detail Falckenberg investigates the influences of the art-market on Kelley's production and the reasons for the suicide of the artist in January, 2012. Beside documentary photographs of important exhibitions of Mike Kelley between 1982 and 2011, and reproductions of seminal works from various periods the book offers numerous stills from the legendary videos by and/or with Mike Kelley, like Banana Man (1983), Heidi (1992) in collaboration with Paul McCarthy, EVOL (1984) by Tony Oursler, Sir Drone (1989) by Raymond Pettibon.
1975, English
Hardcover (w. dust jacket), 168 pages, 24 x 25 cm
1st Edition, Out of print title / used / good
Published by
Overlook Press / New York
$180.00 - Out of stock
First edition of this rare and most comprehensive first English-language monograph on the work of Italian artist Domenico Gnoli, published by Overlook Press, New York, in 1975. Profusely illustrated throughout in colour and b/w with Gnoli's paintings, focusing on the period of his last and most mature work from 1954 to 1969. Luigi Carluccio's incisive text presents Gnoli's life and an evaluation of his work. Includes biography, exhibition history and catalogue of Gnoli's works.
Domenico Gnoli (1933–1970) is a unique and difficult figure to place. He died young, at 36, and lived fast, hanging with a glamorous crowd and marrying twice. He began as a stage designer in Rome, for which he was well received. He was also a successful illustrator, spending the better part of his life in New York City, illustrating for magazines such as Sports Illustrated, and Fortune, where he found favour with art director Leo Lionni in the 1960s. He was also a painter. His paintings exhibited internationally, characteristically zooming in on some crisp fragment of a domestic interior or sartorial flourish: a perfectly made bed, with a serenely patterned spread, or the top of a man’s head, hair meticulously parted. "Gnoli’s paintings are neither Pop nor Surrealist, though they have trace elements of both within them. Their realism is clear enough, and traditional, but the too-closeness of Gnoli’s gaze gives one the sense that abstraction is eating reality up from within."
Very Good copy with some light wear / ageing to plastic coating of dust jacket.
2018, English
Softcover (w. dust jacket), 72 pages, 12 x 19 cm
Published by
Sternberg Press / Berlin
$40.00 - Out of stock
Why has there been so much interest in “surplus value” in recent years? In “The Outside Can’t Go Outside”, artist Merlin Carpenter considers how this term has been inserted into contemporary art theory following the financial crisis of 2007/8. The book focuses on the idea that the value of art is located in unpaid mental, educational, and communicational labor that is gradually accrued and then exploited according to the logic of Marx’s central thesis on exploitation. This much-hyped view is rejected in favor of a more rigorous Marxist interpretation of the nature of surplus value, and its role in a systematic law of value.
Carpenter counterposes value to what exists outside of it—a dream, an imaginary, what he describes as a “trance” or the location of revolutionary thought and desires. The outside, however, is not proposed as a physical location, but as an outside inside the body that functions as a line of control within. Moreover, the author suggests that the new revolutionary subjects might be the new groups that form in order to push against control networks, in a reordering of class struggles.
Institut für Kunstkritik Series, edited by Isabelle Graw and Daniel Birnbaum
Design by Surface
1991, English / German / French
Softcover, 160 pages, 23 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$90.00 - In stock -
In 'Ten Years After' (1991) publishers Angelika Muthesius and Benedikt Taschen published the first major retrospective monographic study of the work of their friend, the artist Martin Kippenberger. Alongside the numerous texts (all in English, German and French), this book is profusely illustrated in colour throughout with Kippenberger's paintings, sculptures, drawings, editions, publications, posters, installations and public/social life. Includes an extensive biography, bibliography and list of exhibitions.
Long out of print.
Martin Kippenberger (25 February 1953 – 7 March 1997) was a German artist known for his extremely prolific output in a wide range of styles and media, superfiction as well as his provocative, jocular and hard-drinking public persona. Kippenberger was "widely regarded as one of the most talented German artists of his generation," according to Roberta Smith of the New York Times. He was at the center of a generation of German enfants terribles including Albert Oehlen, Markus Oehlen, Werner Büttner, Georg Herold, Dieter Göls, and Günther Förg.
Very Good copy.
2022, English
Softcover, 373 pages, 14 x 21 cm
Published by
Swiss Institute / New York
Walther König / Köln
$52.00 - In stock -
Two sisters, an artist and a poet, describe the contours of their lives among New York's artistic avant-garde through an intimate collection of letters.
This collection of the correspondence between artist Rosemary Mayer (1943–2014) and poet Bernadette Mayer (born 1945) occurs between the years of 1976 and 1980, a period of rich creativity in New York's artistic avant-garde, and one which includes the development of major bodies of work by the two women. Rosemary Mayer was creating sculptures, watercolors, books and “temporary monuments” from weather balloons and snow, while Bernadette Mayer was working on some of her best-known publications, including the book-length poem Midwinter Day and the poetry collection The Golden Book of words. Spanning the worlds of Conceptual art, Postminimalism, feminism, the New York School, Language poetry and more, these letters elucidate the bonds of sisterhood through intimate exchanges about art, relationships and everyday life.
Edited by Gillian Sneed, Marie Warsh
Preface by Eva Birkenstock, Robert Leckie, Laura McLean-Ferris, Stephanie Weber
Text by Bernadette Mayer, Rosemary Mayer, Gillian Sneed
1976, German
Softcover, 96 pages, 19 x14 cm
1st Edition, Out of print title / used / good
Published by
Walther König / Köln
Edition Lebeer Hossmann / Brüssels
$40.00 - Out of stock
First edition of this rare collection of the photographs of Belgian surrealist artist René Magritte (1898—1967). German language edition issued by Walther Koenig in Cologne and Edition Lebeer Hossmann in Brüssels, on the occasion of the traveling exhibition La fidélité des images — René Magritte: Cinématograph et photographie. With 111 photos and film images by Rene Magritte.
René François Ghislain Magritte (1898—1967) was a Belgian surrealist artist known for his depictions of familiar objects in unfamiliar, unexpected contexts, which often provoked questions about the nature and boundaries of reality and representation. His imagery has influenced pop art, minimalist art, and conceptual art.
Good copy with some marking and tanning to covers.
2023, English
Softcover, 176 pages, 19 x 25.4 cm
Published by
Inventory Press / New York
$90.00 - In stock -
Milford Graves (1941–2021) was a revelatory force in music beginning in the mid-1960s, liberating the drummer from the role of time-keeper to instrumental improviser. A pivotal figure in the free jazz movement, he created groundbreaking work with Albert Ayler, the New York Art Quartet, Min Tanaka, and John Zorn, and led the way in artistic self-production. But his kaleidoscopic genius was not bound by music, and it led him to develop an oeuvre unprecedented in its breadth—from healing arts to botany, cardiac research to martial arts.
This fully illustrated catalogue includes documentation from the exhibition A Mind-Body Deal, including hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs, costumes, and artifacts from his scientific studies. This first-ever overview of Graves as a creative polymath attempts to unlock his unique habitat by gathering his intricate, multifaceted work and exploring the practices and predilections of this extraordinary jazz mind.
Edited by Anthony Elms, Celeste DiNucci, and Mark Christman
Co-Published by Inventory Press and Ars Nova Workshop
1975, English
Softcover, 350 pages, 19 x 12.5 cm
1st Edition, Out of print title / used / very good
Published by
Phaidon / London
$35.00 - In stock -
1975 edition of Ernst H. Gombrich's Symbolic Images: Studies in the Art of the Renaissance. These studies on the interpretation of images focus on the greatest artists of the Renaissance - notably Sandro Botticelli, Leonardo da Vinci, Raphael and Michelangelo - and all reflect the author's concern with standards, values and problems of method. Illustrated with 170 images.
Sir Ernst Hans Josef Gombrich, OM, CBE (1909—2001) was an Austrian-born art historian who spent most of his working life in the United Kingdom. He is the author of many works of art criticism and art history.
Very Good copy.
2022, English
Softcover, 384 pages, 19.8 x 24.1 cm
Published by
Walker Art Centre / Minneapolis
$110.00 - Out of stock
Six decades of sculptural innovation from the Arte Povera pioneer and alchemist of the everyday captured in this stunning new volume.
Over the course of more than five decades, Jannis Kounellis developed a singular practice across painting, works on paper, sculpture, installation and hybrid works combining objects with live performance. Playing a central role in the Italian Arte Povera movement of the 1960s and early 1970s, Kounellis created wide-ranging and innovative works exploring theater, migration, history, politics and other themes, which continue to influence subsequent generations of artists.
Published by the Walker Art Center for the first US Kounellis survey in over 35 years, Jannis Kounellis in Six Acts offers the most comprehensive assessment of his career to date. The richly illustrated catalog, assembled with the full cooperation of the artist's estate and archive, presents a first-of-its-kind collection of visual materials and Kounellis' writings, including image-based exhibition and performance chronologies. The volume also features essays by Vincenzo de Bellis, Claire Gilman, Kit Hammonds and Ara H. Merjian.
Jannis Kounellis (1936-2017) was born in Piraeus, Greece. In 1956, he moved to Rome and by 1960 was an active member of the Arte Povera movement. In 1969 he created one of his best-known works: the installation of 12 live horses in the gallery L'Attico in Rome. Kounellis' first New York solo show was in 1972. Recent exhibitions have been held at the Museum of Cycladic Art, Athens, Greece (2012) and the Neue Nationalgalerie, Berlin, Germany (2007), among others.
1982, English
Hardcover (w. dust jacket), 424 pages
1st Edition, Out of print title / used / very good
Published by
Evans Brothers / London
$200.00 - Out of stock
The monumental, now collectible, hardcover volume The Icon, by in rare English edition, published by Evans Brothers, London, 1982. A lavishly illustrated, comprehensive volume dedicated to the subject of the Icon spanning 1000 years, from 10th century Constantinople through the centuries in Greece, Russia, Crete, the Balkan peninsula, and the Holy Land. The most out-standing published study on the subject to date, examining icons of Christ, the Blessed Virgin, the great Church feasts, and the Saints and their lives, all artworks beautifully reproduced in vivid colour. Texts by Kurt Weitzman, Gaiane Alibegasvili, Aneli Volskaja, Manolis Chatzidakis, Gordana Babic, Mihail Alpatov, Teodora Voinescu. A stunning book with cloth-binding and gilded detailing.
Kurt Weitzmann (1904—1993) was a Germa-born American art historian who studied Byzantine and medieval art. He attended the universities of Münster, Würzburg and Vienna before moving to Princeton in 1935, due to Nazi persecution. He is well known for the time he spent researching the icons and architecture at Saint Catherine's Monastery in Egypt. He was elected to the American Philosophical Society in 1964 and the American Academy of Arts and Sciences in 1978.
Very Good—Near Fine copy in VG dust jacket. Beautifully preserved.
2022, English
Hardcover, 120 pages, 24 x 28 cm
Published by
Skira / Milan
$65.00 - In stock -
Text by Amanda Renshaw
Critchlow's portraits of Black women transform Western portraiture and conflate kitsch with tradition.
Somaya Critchlow's canvases and sketchbooks log an ongoing process of world building. The artist fashions these realms by drawing upon her expansive knowledge of picture-making traditions ranging from the Renaissance to the Rococo. In charting the ever-expanding dimensions of this female-dominated universe, Critchlow casually disarms the distinctions that inform concepts of high and low culture by uncovering the ways in which class and racial difference are routinely conflated. The voluptuous, self-possessed women who explore Critchlow's fantasy landscapes and pensively occupy domestic interiors or otherwise blank pages owe as much to the aesthetics of Love and Hip Hop as they do to Peter Paul Rubens, and thus prompt the viewer to consider the disparate ways in which we esteem these forms of culture--and the women they feature.
2022, English
Softcover, 352 pages, 22 x 30 cm
Published by
Hatje Cantz / Berlin
$120.00 - Out of stock
This comprehensive monograph on Vivian Suter (b. Buenos Aires 1949) ventures a look at her complete works, bringing together early drawings, painterly wall reliefs from the 1980s, and her latest work from her studio in the tropical rainforest of Guatemala: loose canvases hanging lightly from the ceiling in atmospherically dense installations. The richly illustrated catalog illuminates the interplay between unpredictable natural influences as the paintings are left outside open to the elements and purposeful artistic work in Suter’s practice. With a Japanese binding and fold-out cover, this book is a visual as well as tactile delight, evoking the sensual appeal of free-hanging intensely colored canvases. Contributions by Cesar Garcia-Alvares, Fanni Fetzer, Roman Kurzmeyer, Anne Pontegnie, and Adam Szymczyk.
Since her participation at documenta 14 in 2017, Vivian Suter’s (*1949, Buenos Aires) work has been exhibited in many of the most influential museums worldwide. The artist grew up and studied painting in Basel. Today, she lives and works in the remote wilderness of Guatemala, where she has made the great outdoors her studio.
2000, English
Softcover, 64 pages, 28 x 22 cm
1st Edition, Out of print title / as new
Published by
Drill Hall Gallery / Canberra
$45.00 - Out of stock
Catalogue published on the occasion of the exhibition From the studio of From the studio of Rosalie Gascoigne : the Australian National University, Drill Hall Gallery, 5 September—8 October 2000, curated by Mary Eagle.
Now out-of-print, the catalogue (like the exhibition) is a unique and personal look into the world of New Zealand-born Australian sculptor and assemblage artist Rosalie Gascoigne, beginning with the many works from her home and studio—finished, unfinished, exhibited and never exhibited—that were brought to light along with many other pieces from the Gascoigne estate, including correspondence, rare photographs, and other items that shed a rare light on the way that Rosalie lived and worked. Edited in close collaboration with family members, studio assistants, friends and colleagues, the catalogue, profusely illustrated throughout the many texts with artworks and archival photographs, includes a major text by New Zealand-born optical astronomer and husband of Rosalie Gascoigne, Sidney Charles Bartholemew "Ben" Gascoigne AO (1915— 2010), on her studio life, chapters on the equipment in the studio, conversations with Peter Vandermark (Rosalie Gascoigne's studio assistant throughout the 1990s) with painter Marie Hagerty and curator Mary Eagle, letters to Martin (Rosalie's son) 1971—1980 : extracts selected and edited by Mary Eagle, list of works in the exhibition, and more.
Rosalie Norah King Gascoigne AM (1917—1999) was a New Zealand-born Australian sculptor and assemblage artist. Gascoigne is renowned for her sculptural assemblages of great clarity, simplicity and poetic power. Using natural or manufactured objects, sourced from collecting forays, that evoke the lyrical beauty of the Monaro region of New South Wales, her work radically reformulated the ways in which the Australian landscape is perceived. She showed at the Venice Biennale in 1982, becoming the first female artist to represent Australia there. In 1994, she was appointed a Member of the Order of Australia for her services to the arts.
Out-of-print, As New copies.
2022, English
Softcover (
w. screen printed PVC dust jacket), 60 + 44 pages, 18 x 25.5 cm
Published by
Drill Hall Gallery / Canberra
$35.00 - In stock -
Catalogue published on the occasion of the exhibition Out of Place, curated by Oscar Capezio. Features the work of Hany Armanious, Boyle Family, Bonita Bub, Janet Burchill and Jennifer McCamley, Fiona Connor, Thomas Demand, Dale Harding, Anna Kristensen, Igor and Svetlana Kopystiansky, and Jasper Jordan-Lang.
"Reflecting on our increasingly precarious notions of place and belonging, this exhibition examines ways in which contemporary artworks embody, transpose and reconfigure a sense of locality in a globalised world. Through dislocated fragments and figures, re-materialised objects and textures, stains and other obscure impressions, artists in this exhibition [...] map specific relationships of adjacency and imbalance, tracking the uneven conditions that assemble and define distances, to highlight the powerful dissonance between site and identity, place and authority."
Texts by Oscar Capezio, Helen Ennis, Tom Melick, and Terence Maloon.
Designed by Small Tasks.
Edition of 200.
2023, English
Softcover, 288 pages, 18 x 12 cm
Published by
After 8 Books / Paris
$53.00 - Out of stock
This third printing of Faux Pas is expanded by new drawings and texts, including the previously unpublished lecture on drawing. The volume gathers a significant selection of Sillman’s essays, reviews and lectures, most of them made specially for the book. It aims at revealing the originality of Sillman’s reflection as she addresses the possibilities of art today, favouring wrestling over dandyism, forms over symbols, with critical sense and humour.
Since the 1970s, Sillman – a beloved and key figure of the New York art scene – has developed a singular body of work that includes large-scale gestural paintings blending abstraction with representation, as well as zines and iPad animations.
Over the past decade, Sillman has also produced stimulating essays on the practice of art or the work of other artists: for example, re-evaluating the work of the abstract expressionists with a queer eye; elaborating on the role of awkwardness and the body in the artistic process; and discussing in depth the role and meanings of colour and shape.
Based in New York City, Amy Sillman (born 1955) is an artist whose work consistently combines the visceral with the intellectual. She began to study painting in the 1970s at the School of Visual Arts and she received her MFA from Bard College in 1995. Her work has been exhibited internationally, including at the Whitney Biennial in 2014 and the Venice Biennale in 2022; her writing has appeared in Bookforum and Artforum, among other publications. She is currently represented by Gladstone Gallery, New York.
1983, English
Softcover (staple-bound), 16 pages, 25.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Geelong Art Gallery / Victoria
$25.00 - In stock -
Rare catalogue published on the occasion of the travelling 1983 exhibition, Aspects of the unreal : Australian surrealism 1930s—1950s, that travelled between Geelong Art Gallery, Warrnambool Art Gallery, and Shepparton Art Gallery, curated by W. J. Pascoe. Text-based catalogue of works and biographies, along with curator's text and gallery director's introduction. A rare exhibit to survey the influence of Surrealism in the work of modern Australian artists from the 1940s onward, including David Edgar Strachan, John Joseph Wardell Power, Eric Thake, Sydney Nolan, Roy Opie, Jeffrey Smart, Peter Purves-Smith, Carl Olaf Plate, James Montgomery Cant, Vincent Brown, Roy Dalgarno, Donald Friend, James Gleeson, Vincent Brown, Bernard Boles, Oswald Hall, Danila Vassilieff.
Very Good copy, light wear.