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
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2006, English
Softcover (w. slipcase, 8 page poster/loom inserts), 60 pages + inserts, (book) 54 x 43 cm (inserts)
1st Edition, Out of print title / used / very good
Published by
Vancouver Art Gallery / Vancouver
$160.00 - Out of stock
One of the scarcest, most elaborate of Althoff's catalogues, published by the Vancouver Art Gallery in 2008 on the occasion of the first Canadian exhibition of Althoff's work, introducing many new works. Housed in original issue cardboard slipcase, complete with all poster and loom inserts, this lavishly illustrated catalogue features texts by Kai Althoff, Jennifer M. Volland, Kathleen S. Bartels, and Travis Joseph Meinolf, including an interview with Althoff. Central to the exhibition was a collaborative installation entitled The Weaving Place. Althoff designed this space to display and experience the work of San Francisco-based artist Travis Joseph Meinolf, whose manifesto and invention of the Laser-Loom explores issues related to alternative modes of production and the distribution of goods. This elaborate publication also features 8 lovely double-sided newsprint colour posters of illustrations by Althoff to accompany the The Weaving Place, plus a laser-cut cardboard loom to D.I.Y. An incredible catalogue/artist's production.
Kai Althoff (born 1966 in Cologne) is a German visual artist and musician. Borrowing from moments of history, religious iconography, and counter-cultural movements, Althoff creates imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. Tapping a multitude of sources, from Germanic folk traditions to recent popular culture, from medieval and gothic religious imagery to early modern expressionism, Althoff’s characters inhabit imaginary worlds that serve as allegories for human experience and emotion. His image bank and painterly style also draw on the past, especially early-20th-century German Expressionism, reconfigured by introducing collaged technique.
Very Good copy with barely any wear to any component.
2014, English
Hardcover (w. dust jacket), 300 pages, 25.5 x 28.0 cm
Published by
JRP Ringier / Zürich
Kunsthalle Zürich / Zürich
$135.00 - Out of stock
This comprehensive publication is Kai Althoff's third monograph. It contains never-before-seen works in addition to images from every stage of the artist's career, concentrating most heavily on work since 2002. The artist considers this to be a more ideally composed retrospective than any exhibition of his work would be capable of achieving. The selection of images focuses on documenting the work in a way that addresses the character of the works as well as the artist's current and past perspectives on his oeuvre. Possessing the emotional charge of the artist's works, this book presents personal, previously unpublished photographs, paintings, and writings of "failed satire" with a deceptive sentimentality that oscillates between nostalgia and self-deprecation. This stands in contrast with the innate beauty and craftsmanship of the works, which engrossed the artist at the time of their conception. Souffleuse der Isolation is also concerned with re-evaluating past works and the emotional states in which they were spawned, and how this pertains to the act of revisiting past portrayals of oneself.
This volume also features a text by the writer Angus Cook imaginatively inspired by Althoff's work, written specifically for this monograph, which served as a vital conceptual basis to its composition. Also included is a text by Dr. Patrik Scherrer on the use of textiles in the artist's work.
A beautiful book.
Kai Althoff (born 1966 in Cologne) is a German visual artist and musician. Borrowing from moments of history, religious iconography, and counter-cultural movements, Althoff creates imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. Tapping a multitude of sources, from Germanic folk traditions to recent popular culture, from medieval and gothic religious imagery to early modern expressionism, Althoff’s characters inhabit imaginary worlds that serve as allegories for human experience and emotion. His image bank and painterly style also draw on the past, especially early-20th-century German Expressionism, reconfigured by introducing collaged technique.
2022, English
Softcover, 96 pages, 12 x 20.3 cm
Published by
Walther König / Köln
$48.00 - Out of stock
A conversation between the artist Marc Camille Chaimowicz and the architect Roger Diener about their collaboration, The Armadillo House in Basel. Chaimowicz claims the interior as a pictorial space while also referencing the history of architecture, art and design. His agenda has been described as the celebration of domestic detritus and his spatial installations appear as painterly tableaus. From the 1970s onwards he advanced a critique of rigid, austere minimalism. For Diener, on the other hand, pictorial space is not a factor. Instead, he puts forward a modernist notion of non-expression, with architecture functioning as its raw material. In his architecture, it is not the insertion of culturally codified images but rather spatial configurations that shape the movement and circulation of inhabitants.
2022, English / French
Softcover, 256 pages, 17.5 x 24 cm
Published by
May Revue / Paris
$36.00 - In stock -
Jay Chung, Claire Fontaine, Josef Strau, Alain Guiraudie, Bernadette Van-Huy, Helmut Draxler, Henrik Olesen by Thomas Duncan, Heji Shin by Benoît Lamy de la Chapelle, Marcel Proust by Yves-Noël Genod, Merlin Carpenter by Annie Ochmanek, Josephine Graf, Helmut Draxler, Megan Francis Sullivan and Nick Mauss, Dylan Byron and Isabelle Graw, Benjamin Lignel and Anne Dressen, Clément Rodzielski.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, once a year, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2022, English
Softcover, 456 pages, 15 x 22.5 cm
Published by
Ridinghouse / London
$69.00 - In stock -
This first ever queer history of St Ives weaves together biography with art and social history to shine new light on a pivotal era in the development of British modernism. At its centre is the sculptor John Milne (1931-1978), who arrived in the town in 1952 to work as an assistant to Barbara Hepworth.
Hidden behind 20-foot-high granite walls, Milne's house, Trewyn, became a meeting point for queer figures from the arts as well as the scene of legendary parties. The large cast - both queer and otherwise - featured in Queer St Ives and Other Stories includes artists Francis Bacon, Alan Lowndes, Marlow Moss, Patrick Procktor, Mark Tobey, Keith Vaughan and Brian Wall; Whitechapel Art Gallery director Bryan Robertson; actors Keith Barron and Richard Wattis; potter Janet Leach; and writers Tony Warren and Richard Blake Brown. There is also the extraordinary Julian Nixon, a queer Everyman whose involvement in the group has been little explored until now.
Based on original interviews and previously unpublished letters and diaries, Queer St Ives and Other Stories reveals a fascinating, previously undocumented history, adding vital new insights into the history of this fabled Cornish art colony. Publication supported by the Paul Mellon Centre.
2022, English
Hardcover, 608 pages, 27.9 x 20.1 cm
Published by
Walther König / Köln
Galerie Buchholz / Köln
Greene Naftali / New York
$290.00 - In stock -
Presenting the complete works of Germany’s greatest living minimalist painter.
A central figure in contemporary painting, Michael Krebber has never been the subject of a comprehensive scholarly monograph. The Michael Krebber Catalogue Raisonné is a projected multivolume catalogue of the artist’s complete work, compiling high-quality photographs, material descriptions, and provenance of his output in all media.
Focused on his early work, this first volume includes paintings, sculptures, works on paper, and film from 1972 to the year 2000. Opening with a historical essay that traces the genesis of Krebber’s practice in relation to contemporaries such as Martin Kippenberger and Albert Oehlen, the book also contains numerous short texts analysing and contextualising individual works.
In addition to a full biography and bibliography, the catalogue raisonné features extensive documentation of Krebber’s early exhibitions, many of which have not been published before.
1997, English
Softcover (w. card dust-jacket and sheet of artist's wrapping paper), 44 pages, 15 x 21 cm
1st Edition, Out of print title / as new
Published by
Self-Published / Melbourne
$60.00 - In stock -
Wonderful artist's book produced by Rose Nolan in 1997 to document a series of paper construction sculptures that were sent as presents (Birthday, Bon Voyage, New Baby, House Warming, et al.) to friends between 1996-1997.
This publication features the photo documentation of the presents received by Diena Georgetti, Jackie Redlich, Stephen Bram, Annie Jacobs, Christoph Preussmann, Sue Cramer, John Nixon, Kathy Temin, Mutlu Çerkez, and Richard Holt, in their respective new settings.
Includes a sheet of artist's wrapping paper laid-in.
Rose Nolan (b. 1959) is an Australian visual artist based in Melbourne working across painting, installation, sculpture, photography, prints and book production. Her practice regularly oscillates between the discrete and the monumental and is informed by a strong interest in architecture, interior and graphic design – combining formal concerns with the legacies of modernism. Nolan’s practice is known for its investigation of the formal and linguistic qualities of words, directly using language to transform the architectural space they inhabit. By making language concrete in this way meaning is allowed to be approached differently.
Nolan employs a radically reduced palette of red and white, and simple utilitarian materials and methods, in an exploration of personal, playful and often self-effacing narratives. Each work describes a concern for economy; a desire to be responsive to site; an interest in seriality and repetition; and the importance of language, interactivity, and the experience of the viewer.
1978, English
Hardcover (clothbound w. dust jacket), 160 pages, 24.5 x 32 cm
1st Edition, Out of print title / used / very good
Published by
Octopus / London
$65.00 - In stock -
English edition of the great "Surrealist Drawings", edited by František Šmejkal, designed and printed in Czechoslovakia. A beautiful clothbound hardcover folio of drawings by artists affiliated with Surrealism. What makes this lovely collection special is the inclusion of many of the Czech Surrealists, and a generally broad European scope of artists. Czech art historian František Šmejkal has collated a wonderful selection of works on paper by Toyen, Jindřich Štyrský, Wolfgang Paalen, Giorgio de Chirico, Hans Bellmer, Alfred Kubin, Francis Picabia, Jacques Hérold, Yves Tanguy, Man Ray, Josef Istler, Max Ernst, André Breton, František Muzika, Paul Delvaux, Wilfredo Lam, Richard Oelze, Mikuláš Medek, Joan Miró, Josef Sima, Kurt Seligmann, Odilon Redon, Andre Masson, Max Walter Svanberg, Salvador Dali, Arshile Gorky, Victor Brauner, Rene Magritte, and many more.
Highly recommended.
Very Good copy with light edge wear. Very Good dust jacket.
2010, English
Softcover, 160 pages, 24.9 x 29 cm
Published by
Lund Humphries / London
$85.00 - Out of stock
This book remains the definitive survey of the life and work of Surrealist artist Leonora Carrington (1917-2011).
Carrington burst onto the Surrealist scene in 1936, when, as a precocious nineteen-year-old debutante, she escaped the stultifying demands of her wealthy English family by running away to Paris with her lover Max Ernst. She was immediately championed by Andre Breton, who responded enthusiastically to her fantastical, dark and satirical writing style and her interest in fairy tales and the occult. Her stories were included in Surrealist publications, and her paintings in the Surrealists' exhibitions.
After the dramas and tragic separations of the Second World War, Carrington ended up in the 1940s as part of the circle of Surrealist European emigres living in Mexico City. Close friends with Luis Bunuel, Benjamin Peret, Octavio Paz and a host of both expatriate Surrealists and Mexican modernists, Carrington was at the centre of Mexican cultural life, while still maintaining her European connections.
Leonora Carrington: Surrealism, Alchemy and Art provides a fascinating overview of this intriguing artist's rich body of work. The author considers Carrington's preoccupation with alchemy and the occult, and explores the influence of indigenous Mexican culture and beliefs on her production.
Susan L. Aberth received her PhD in Art History from the Graduate Center of the City University of New York; her dissertation was on the art of Leonora Carrington. She is currently Assistant Professor of Art History at Bard College, New York, where she specializes in Latin American Art.
1973, English
Softcover (soft boards), 204 pages, 29.6 x 21.2 cm
1st Edition, Out of print title / used / average
Published by
Harry N. Abrams / New York
Thames and Hudson / London
$25.00 $15.00 - Out of stock
English edition wide ranging and comprehensive survey of conceptual and other contemporary art movements circa 1973—1974, profiling 53 contemporary artists from 18 countries, edited and designed by the legendary Dutch typographer and museum curator, Willem Sandberg, with associates including Jean-Christophe Ammann, Harald Szeemann, Achille Bonito Oliva, Yona Fischer and many others. Original cover by Alighiero Boetti. Profusely illustrated throughout in colour and black and white with collected works by each artist or original pieces made for the publication, aside from the occasional accompanying artist's text it is entirely made up of visuals. Artists featured include : Sergi Aguilar, Gilles Aillaud, Keith Arnatt, Gábor Attalai, Lothar Baumgarten, Ola Billgren, Alighiero Boetti, Christian Boltanski, Marcel Broodthaers, Boris Budan, Luciano Castelli, Mary Corse, William Crozier, Hanne Darboven, Jan Dibbets, Braco Dimitrijević, Gino De Dominicis, Benni Efrat, Luciano Fabro, Robert Filliou, John-E Franzen, Hamish Fulton, Tibor Gayor, Avital Geva, Zbigniew Gostomski, Allan V. Harrison, Jeroen Henneman, Martha Jungwirth, Zdzislaw Jurkiewicz, Per Kirkeby, Christof Kohlhöfer, Harriet Korman, Piotr Kowalski, Richard Long, Urs Lüthi, Inge Mahn, Richard Nonas, Lev Nusberg, Panamarenko, Antonio Soler Pedret, Ireneusz Pierzgalski, Vettor Pisani, Joan Hernández Pijuan, Carl J. Plackrnan, Markus Raetz, Franz Ringel, Salvador Sauna, Kjartan Slettemark, Hugo Suter, Endre Tot, Jerzy Treliński, Carel Visser, Rolf Winnewisser...
Average—Poor copy, contents and interior in good shape and complete, cover and edges with decent wear and marking, spine 75% torn away, although all still thread-bound.
2019, English
Softcover, 208 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - Out of stock
The first hardcopy Memo publication, collecting the 52 reviews from 2017 published by Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
Contributions by Rex Butler, Jane Eckett, Giles Fielke, Chelsea Hopper, Helen Hughes, Beth Kearney, Kylie King, Paris Lettau, Julia Lomas, Ian McLean, Anna Parlane, Victoria Perin, Francis Plagne, Audrey Schmidt, Kate Warren, Anthony White , Amelia Winata. Design by Warren Taylor and Joanna Leucuta, with copy editing by Genevieve Osborn.
2019, English
Softcover, 248 pages, 21 x 28 cm
Published by
Themerson Estate / London
$95.00 $40.00 - In stock -
In 1980 the late British art critic and historian Nick Wadley befriended artist Franciszka Themerson (1907–1988), whose work he had admired for many years. This first monograph about the Polish-born painter, illustrator, and print and stage designer introduces her work mainly through his words, gathering together lectures, notes, catalogue introductions, and more. The material covers 60 years of her artistic career, detailing her painting, drawing, reliefs, theatre design, and illustrations for children. More than just a tribute to her extraordinary mastery of the drawn line, it also includes a list of facts and dates which help the reader to understand the artist’s versatility and work.
Themerson collaborated with her husband, the writer Stefan Themerson on many experimental films and illustrated books for children, and in 1948 they founded the adventurous publishing company, Gaberbocchus Press, of which she was the art director. The press was named after a Latinisation of 'Jabberwocky', from Lewis Carroll's 'Alice' coined by Carroll's uncle, Hassard Dodgson. In 31 years the Gaberbocchus Press published over sixty titles, including works by Alfred Jarry, Kurt Schwitters, Bertrand Russell, Raymond Queneau, and the Themersons themselves. Alfred Jarry’s Ubu Roi was its flagship publication, published in many editions and still in print. The Gaberbocchus edition is a most apposite evocation of the spirit of Jarry's grotesque fable. The text, which was hand-written directly onto lithographic plates by the translator, Barbara Wright - interspersed with Themerson's conte crayon illustrations - is printed on loud yellow pages. Themerson's contributions as illustrator contributed enormously to the autograph originality of design of Gaberbocchus books. Apart from appearing in many journals worldwide, several collections of her drawings have been published as books: Forty Drawings for Friends, London 1940-42 (1943), The Way It Walks (1954), Traces of Living (1969) and Music (1998). Themerson's theatre designs included marionette productions of Ubu Roi, Ubu Enchainé and the Threepenny Opera, mostly made for the Marionetteatern in Stockholm, in the 1960s, which toured worldwide for decades, and were rewarded with international acclaim. Many of these were exhibited at the National Theatre in 1993.
2020, English / German
Softcover, 280 pages, 23 x 23 cm
Published by
Ludwig Museum / Cologne
Walther König / Köln
$80.00 - In stock -
Who—or what—is Reena Spaulings? Since 2004 the name has stood for various collective artistic activities. Initially Reena Spaulings was the title of a novel written by an undisclosed number of anonymous authors from the circle of the artist collective Bernadette Corporation. Around the same time, a commercial gallery with an exhibition space in New York was founded, which since then has represented artists such as Merlin Carpenter, Jutta Koether, Claire Fontaine, and Klara Lidén. Also in 2004, an artist collective was formed that operates under the name of the fictional artist Reena Spaulings, creating collective paintings that are both reflective of the system and self-deprecating.
This catalogue is Reena Spaulings' first comprehensive publication and contains, among other things, a richly illustrated chronology of the collective's work to date, published following the exhibition HER AND NO at the Ludwig Museum in Cologne, Reena Spaulings’s first institutional collaboration with a museum. The presentation focused on the collective’s artistic work, including new works, new versions of existing series of works, and existing works that deal with the status of the artist in society in a wider sense.
Profusely illustrated with contributions from Simon Baier, Caroline Busta, Anna Czerlitzki, Yilmaz Dziewior and Claire Fontaine. Edited by curator Anna Czerlitzki.
1994, English
Softocver, 196 pages, 15.5 x 23.5 cm
1st Edition, Out of print title / used / fine
Published by
University of Chicago Press / Chicago
$45.00 - Out of stock
The work of the French cultural critic Louis Marin (1931-1992) is of importance to scholars concerned with issues of representation. This text, first published in France in 1977, presents Marin's theories about the aims of painting in Europe in the 16th and 17th centuries. A meditation on the work of Poussin and Caravaggio and on their milieux, the book explores a number of notions implied by theories of painting and offers insight into the aims and effects of visual representaion.
First edition Very Good—Fine copy.
1986, English
Softcover, 319 pages, 175 x 229 mm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$69.00 - Out of stock
Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
Rosalind E. Krauss, University Professor at Columbia University and an editor and cofounder of October magazine, is the author of The Originality of the Avant-Garde and Other Modernist Myths (1985), The Optical Unconscious (1993), The Picasso Papers (1999), and Bachelors (1999), all published by the MIT Press, and coauthor (with Yve-Alain Bois) of Formless: A User's Guide (Zone Books, 1997).
"All of her observations are unfailingly original and provocative."—Art Documentation
Very Good copy of original 1986 edition, 1993 printing.
1996, English
Softcover, 328 pages, 18 x 22.2 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$69.00 - Out of stock
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real -- to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-garde, it concludes with an original reading of this contemporary situation -- and what it portends for future practices of art and theory, culture and politics.
Includes the work of David Hammons, Robert Gober, Mike Kelley, Marcel Duchamp, Alexander Rodchenko, Vladimir Tatlin, Dan Flavin, Carl Andre, Jasper Johns, Daniel Buren, Marcel Broodthaers, Michael Asher, Hans Haacke, Fred Wilson, Silvia Kolbowski, Larry Bell, Sol Lewitt, Richard Serra, Eva Hesse, Donald Judd, Tony Smith, Robert Morris, Robert Smithson, Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Ross Bleckner, Barbara Kruger, Sherrie Levine, Vito Acconci, Bruce Nauman, Gordon Matta-Clark, Frank Stella, Robert Rauschenberg, Andy Warhol, Allan McCollum, Gerhard Richter, Richard Estes, Richard Prince, Cindy Sherman, Kiki Smith, John Miller, Zoe Leonard, Gran Fury, Renée Green, Dan Graham, Martha Rosler, Allan Sekula, Mary Kelly, Silvia Kolbowski, Lothar Baumgarten, Fred Wilson, Jimmie Durham, and many more.
1972, English
Softcover, 160 pages, 18.5 x 12.5 cm
1st Edition, Out of print title / used / good
Published by
Studio Vista / London
E P Dutton / New York
$30.00 - Out of stock
First edition of the Futurism volume of Studio Vista / Dutton's great paperback series. Published in 1971 and written by Jane Rye, this heavily illustrated overview spans Futurism's beginnings as an aggressively modern style in art and literature in the 1920 and 1930s, its activities and developments via central protagonists such as Italian poet Filippo Tommaso Marinetti, who coined the term, Giacomo Balla, Carlo Carrà, Umberto Boccioni, Gino Severini, etc.
Includes chapters on all major Futurist disciplines : Painting and Sculpture, Architecture, Literature, Theatre, plus chapters on Futurism and politics, Futurism within Italy and Futurism outside Italy, a book list, index, and more.
Good copy.
1970, English
Softcover, 168 pages, 18.5 x 12.5 cm
1st Edition, Out of print title / used / good
Published by
Studio Vista / London
E P Dutton / New York
$30.00 - Out of stock
First edition of the Dada volume of Studio Vista / Dutton's great paperback series. Published in 1970 and written by Kenneth Coutts-Smith, this heavily illustrated overview spans Dada's activities via central locations and protagonists such as Picabia, Janco, Duchamp, Schwitters, Ernst, Grosz, Man Ray, Arp, etc.
Chapters : "Zürich - the beginning", "Anti-art and the irrational", "The roots of Dada", "New York - Duchamp and philosophical irony", "Berlin - political commitment", "Cologne - Ernst and the hallucinatory vision", "Hanover - Schwitters, freedom through lyricism", "Paris - last fling and obsequies", "Dada is dead-long live Dada", "Book list", "Index".
1984, German
Hardcover (w. dust jacket), 408 pages, 32 x 26 cm
Out of print title / used / very good
Published by
DuMont / Köln
$35.00 - In stock -
Over-sized hardcover catalogue published on the occasion of the exhibition Edgar Degas: Pastelle, Ölskizen, Zeichnungen, January 14 — March 25, 1984 in the Kunsthalle Tübingen and in the Nationalgalerie Berlin, April 5 — May 20, 1984. Profusely illustrated throughout with 227 pastels, oil sketches and drawings from numerous European, American and Japanese collections, some of which have been published for the first time. Includes biography, bibliography, index and text by Götz Adriani.
Very Good copy of the 8th printing, with VG dust jacket protected under mylar wrap. Cut to front endpaper corner, presumably to remove previous owner name.
2016, English
Softcover, 312 pages, 25.6 x 30.6 cm
1st Edition, Out of print title / used / very good
Published by
NGV (National Gallery of Victoria) / Victoria
$60.00 - Out of stock
Although Edgar Degas is one of the most celebrated French Impressionists, he referred to himself as a Realist artist. Modern life in nineteenth-century Paris provided Degas with a repertoire of motifs he explored with endless variation: from scenes of work and industry to ballet and the theatre, racecourses and boudoirs. The works he created over more than fifty years embrace painting, drawing, printmaking, monotypes, sculpture and photography and have had an immense impact on modern and contemporary art.
This exquisite and authoritative publication includes the finest recent scholarship by world-renowned Degas expert Henri Loyrette and brings together more than 200 works from a vast number of public and private collections worldwide. Degas: A New Vision offers a fresh and dynamic reappraisal of the artist's mature years when his artistic process became a subject in itself, as he worked and reworked compositions in a fluid manner.
Very Good copy, out-of-print.
1974, English
Hardcover (w. dust jacket), 288 pages, 33 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$75.00 - In stock -
First hardcover UK edition of this comprehensive volume, published in 1974. Degas: The Complete Etchings, Lithographs and Monotypes collects and beautifully reproduces almost 300 graphic works by one of most celebrated French Impressionists, Degas, compiled and accompanied by text from Jean Adhémar and Françoise Cachin, along with a foreword by John Rewald. An important reference on the artist.
Very Good copy in original dust jacket, preserved under mylar wrap.
1981, English
Softcover, 80 pages, 28 x 21 cm
1st Edition, Out of print title / used / good
Published by
Scala / Florence
$25.00 - In stock -
Raphael Sanzio was born in Urbino on 6th April 1483. Around the beginning of the 16th Century Raphael met Pietro Perugino, who influenced his painting perhaps more than any other painter: Peruginesque motifs can be identified in one of Raphael's earliest works, the altarpiece for the Church of Sant'Agostino in Citta di Castello, on which he collaborated with Evangelista da Pian di Meleto. From 1509 he was in Rome, where his first major undertaking was the decoration of the Stanza della Segnatura, commissioned by Pope Julius II. In Raphael, a monographic study published in Florence in 1981, Bruno Santi examines the works produced by this painter throughout his life, from his beginnings in Urbino, to his period in Florence, and his time in Rome. Raphael's work on the Stanza della Signatura is examined in some detail.
Good copy with crease to cover, light wear.
1990, English
Softcover (w. dust jacket), 512 pages, 29.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Biennale of Sydney / Sydney
$120.00 - Out of stock
First edition of the incredible (huge) catalogue published to accompany the 8th Biennale of Sydney 1990 "The Readymade Boomerang: Certain Relations in 20th Century Art", held 11 April-3 June 1990 in Sydney across various venues. The eighth Biennale began from ‘a trio of Dada originators’: Marcel Duchamp, Man Ray and Francis Picabia. A large number of artists across generations joined these key figures in Artistic Director René Block’s exploration of the ‘readymade’ in twentieth-century art, which aimed to highlight ‘its invention and pure use by Duchamp, to its resurgence in Nouveau Realism, Pop Art, and Fluxus of the 60s, all the way to new versions by young contemporary artists’. Pop, fluxus and conceptual artists such as Andy Warhol, Richard Hamilton, Marcel Broodthaers, Joseph Beuys, John Cage, Alison Knowles, César, George Brecht, Nam Jun Paik and Piero Manzoni were shown alongside Rosemarie Trockel, John Nixon, Ian Burn, Mel Ramsden, Janet Burchill, Peter Tyndall, Robert Rooney, Rosalie Gascoigne, Cindy Sherman, Bruce Nauman, Hans Haacke, Rebecca Horn, Sophie Calle, Jeff Koons, Allan Kaprow, Jenny Holzer, Robert Gober, Jill Scott, Bill Culbert, Stanley Brouwn, Peter Cripps, Terry Fox, Ian Hamilton Finlay, Fischli & Weiss, KP Brehmer, Sigmar Polke, Dieter Rot, Hanne Darboven, Robert MacPherson, Jackie Redgate, Ed Ruscha, Barbara Bloom, Oyvind Fahlstrom, amongst so many others. The industrial Bond Store at Millers Point featured site-specific works by artists such as Olaf Metzel and Simone Mangos, and several works were created on-site in Sydney, amplifying Block’s notion of the Biennale as a ‘workshop’. A comprehensive satellite program of music, performance, lectures, symposia, workshops and exhibitions at various Sydney venues complemented the exhibition, with Carles Santos’ piano recital on a barge in Sydney Harbour a highlight. Five satellite exhibitions included On Kawara, Joseph Beuys, Alain Fleischer, Fluxus and Broken Record, which featured artist’s experimentations with audio recordings, vinyl and album artwork – from John Cage’s 33 1/3 composition for 12 record players to Milan Knížák’s record-collages.
An incredible Sydney biennale, captured here across over 500 pages conceived and realised by René Block and Jennifer Cook - profusely illustrated with examples of all artists works and accompanying texts throughout by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg, Dick Higgins, René Block and Jennifer Cook. Very Good copy with only general wear/ageing. Bright and clean, includes tanned original dust jacket now preserved under plastic wrap.
Having represented Beuys, Richter and Polke, German gallery owner, art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde.
Very Good copy with original dust jacket. Common tanning to dust jacket spine, now preserved under mylar wrap.
1988, English / German
Hardcover (w. dust jacket in slipcase) / Softcover, 320 + 256 pages, 23 x 28 cm
1st Edition, Out of print title / used / very good
Published by
DuMont / Köln
$70.00 - Out of stock
Heavy bi-lingual 2 volume catalogue published on the occasion of the exhibition "The BiNational, American Art of the Late 80s / German Art of the Late 80s" that traveled between the Institute of Contemporary Art, Museum of Fine Arts, Boston Sept 23 — Nov 27, 1988 and Städtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen, Kunstverein für die Rheinlande und Westfalen, Düsseldorf 10 Dec 1988 — 22 Jan, 1989. A major survey of contemporary art from both nations, the two catalogues (one for the American artists, the other for the German) are heavily illustrated throughout in colour and b/w with examples of all artists work, alongside texts in English and German by Trevor Fairbrother, David Joselit, and Elizabeth Sussman, with artist interviews, biographies and much more.
Includes Christopher Wool, Constance DeJong, Robert Gober, Mike Kelley, Georg Herold, Rosemarie Trockel, Werner Büttner, Peter Halley, Andreas Slominski, Tishan Hsu, Jeff Koons, Thomas Ruff, Imi Knoebel, Annette Lemieux, Jorg Immendarff, David McDermott and Peter McGough, Tony Oursler, Stephen Prina, Richard Prince, Tim Rollins + K.O.S., Albert Oehlen, Lorna Simpson, Haim Steinbach, Katherina Fritsch, Philip Taaffe, James Welling, and many more.
Please note: German artist volume in Hardcover (w. dust jacket and publisher's slipcase); American volume in softcover. Both Good-Very Good copies, only light wear, age.