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.
1997, English
Softcover, 196 pages, 22.6 x 30.5 cm
Published by
The MIT Press / Massachusetts
$55.00 - Out of stock
The American artist Arthur Dove (1880-1946), purportedly the first artist to have produced an abstract painting, has always occupied a central place in writings on early American modernism. This book accompanies the first major exhibition on Dove since 1974. The exhibition, organized by the Addison Gallery of American Art and the Phillips Collection, covers the period from 1908, the year after Dove took up painting, through 1946, the year of his death. It is comprised of approximately eighty paintings, collages, pastels, and charcoal drawings.
Along with Georgia O'Keeffe and John Marin, Dove was touted for more than three decades by photographer and dealer Alfred Stieglitz as an American original, one whose work was prescient in its opposition to the materialism of a newly industrialized America.
Essays by Debra Bricker Balken, William C. Agee, and Elizabeth Hutton Turner discuss Dove's interactions with Stieglitz and others in his circle, including O'Keeffe, Marin, Marsden Hartley, and Paul Strand, and re-examine Dove in the context of early twentieth-century intellectual and cultural history. The book contains color plates of all the works in the exhibition: the essays are profusely illustrated with black-and-white images not included in the exhibition. Apart from an out-of-print catalogue raisonné, this book is the largest and most comprehensive publication to date on Dove's work.
Copublished with the Addison Gallery of American Art in association with the Phillips Collection
2019, English / German
Hardcover, 144 pages, 16.5 cm x 22 cm
Published by
Koenig Books / London
Fridericianum / Kassel
$48.00 - Out of stock
The realm of the imaginary, which has always been regarded as the primal domain of art, has expanded progressively under the influence of new technologies in the early years of the twenty-first century. Through a process of mutual interaction, the imaginary permeates and shapes reality— and vice versa. The imaginary potential of the visual image has become increasingly significant. This ongoing process is designated by the concept of the image. The works presented in this exhibition explore the image at the moment of its fundamental reconfiguration. Changes affecting the origin, distribution, function, and mission of the image have made it both the point of departure and the principal object of artistic analysis.
Artworks by Pierre Huyghe, Wade Guyton, Seth Price, Mark Leckey, Philippe Parreno, Michel Majerus, Trisha Donnelly, Cory Arcangel, Sturtevant, Isa Genzken
Texts by Alex Kitnick, Susanne Pfeffer, Seth Price, D.N. Rodowick
Published to accompany the exhibition ‘Images’, 31 Jan – 1 May 2016, Fridericianum, Kassel.
Co-published by Koenig Books and Fridericianum.
English and German text.
2015, English
Softcover (staple-bound), 64 pages, 14.8 x 21 cm
Published by
Walther König / Köln
$18.00 - Out of stock
Founded in 1994 in honor of the Cologne-based collector Wolfgang Hahn, the Wolfgang Hahn Prize has since been awarded every year to an exceptional, internationally known, but even less well known, artist personality in Germany. With RH Quaytman and Michael Krebber the prize was awarded for the first time in 2015 to two artists. This publication pays tribute to the laureate and the laureate, both of whom are decidedly concerned with the medium of painting from a more conceptual standpoint. With a foreword by Mayen Beckmann, an introduction by Yilmaz Dziewior, a laudation by Daniel Birnbaum and an afterword by Hanspeter Sauter.
2019, English
Softcover, 488 pages, 18 x 11 cm
Published by
Koenig Books / London
Städelschule / Frankfurt
$42.00 - Out of stock
‘Since the year 1999, around 800 lectures have taken place at the Städelschule in Frankfurt. The texts are transcripts of thirteen lectures, selected to represent the most recent history, cataloguing ideas that might otherwise be buried and forgotten. This volume is the first of a series and focuses on the diversity of artistic perspectives. It provides an insight into the Städelschule’s educational program and documents a variety of artistic and theoretical approaches that the school seeks to support in art and society at large. The ongoing series will continuously reflect the school’s anatomy and core protagonists—the professors, the curatorial program at Portikus, and the students.’ — Philippe Pirotte (Städelschule Rector)
Städelschule Lectures 1 presents lectures, conversations, and interviews by: Monika Baer, Petra Van Brabandt, Douglas Gordon, Mark Leckey, Joshua Oppenheimer, Philippe Parreno, Philippe Pirotte, Lucy Raven, Willem de Rooij, Martha Rosler, Adi Rukun, Georgia Sagri, Mark von Schlegell, Amy Sillman and Josef Strau. The public lecture program is an integral part of the education at the Städelschule in Frankfurt. This publication is the first of a series cataloguing selected presentations from the past 20 years. Co-published with Städelschule.
1995, German
Softcover, 200 pages, 15.2 x 21 cm
1st Edition, Out of print title / used / fine
Published by
Walther König / Köln
$100.00 - Out of stock
First edition of this fantastic 1995 Thomas Bayrle publication from Walther König, Cologne. "Grafik" is densely illustrated with almost 200 colour and b/w images of Bayrle's early "super-forms" and animation/film works. Almost entirely a volume of images, it also includes texts by Brigitte Kölle and Kobe Matthys, in both English and German. A valuable and highly visual overview of the pioneering German pop artist.
A pioneer of German Pop Art, Thomas Bayrle is best known for his ‘super-forms’, large images composed of iterations of smaller cell-like images. Humorous, satirical, and often political, his paintings, sculptures, and digital images are commentaries on the systems of control and domination in a rapidly globalizing economy, via allegorical references to traffic patterns, mass production, and the generic designs of popular goods such as wrappers and wallpaper. Bayrle draws readily on his experience of Cold War Germany as a microcosm of broader power struggles.
2013, English
Hardcover, 224 pages, 310 x 240 mm
Published by
Walther König / Köln
$100.00 - In stock -
All-in-One represents a first attempt at offering an overview of Thomas Bayrle's multifaceted practice, from his first kinetic machines to the recent engine installations.
Amply illustrated, the catalogue highlights not only the serigraphies and super-images Bayrle is perhaps best known for, but also his sculptures, his early work as a graphic designer and publisher (included is an illustrated bibliography of all of Bayrle's artist books), his videos, as well as samples from his own texts (excerpts from his San Francisco Diary of 1981, reprinted here for the first time) and from his dabblings in concrete poetry.
Holding together this expansive approach are the concerns that have always animated his work: consumerism and consumer society, political propaganda, weaves and patterns, movement, sexuality, and religion.
Published on the occasion of the exhibition at WIELS Contemporary Art Centre, Brussels, 9 February – 12 May 2013.
2019, English / Italian
Softcover (w. plastic dust jacket), 352 pages, 17 x 23 cm
Published by
Corraini / Italy
$120.00 - Out of stock
Dieter Roth, one of the most prominent artists of the late 20th century and a key figure in the history of Artists’ Books, has poured his entire life onto countless pages. From his beginnings in the 1950s and throughout the years of his artistic practice, he produced over 230 books. Roth constantly took notes and wrote journals from which he drew the wide range of materials used in his works. Twenty years after his death, his work still represents today an endless source of inspiration for contemporary artists.
The volume Dieter Roth. Pages brings together for the first time all of his books, diaries and notebooks in one single publication—complete with images and technical descriptions—showing how, in every page, as well as in all his visual artworks, Roth followed a principle of inexhaustible variation. Starting from an original, often handwritten text, which he generally arranged in layers and complemented with writings and drawings, he developed a series of consecutive texts, each being fully shaped in a self-contained form, and yet providing the very reason and possible starting point for the following book. Roth and his series of copies and alterations narrate the journey of a 20th-century Self who, at every step, and with every development, is forced to observe his own gradual and inescapable disgregation.
The critical essay by curator Elena Volpato and the text by the artist’s son and collaborator Björn Roth on the production of the Copy Books, in which he personally took part, are accompanied by the writings of two internationally renowned artists, Lawrence Weiner and Pavel Büchler, who have paid their tribute to Dieter Roth, celebrating his revolutionary power and the founding value of his research.
2008, Japanese
Hardcover (w. obi strip), 267 pages, 23.4 x 30.4 cm
1st Edition, Out of print title / as new
Published by
Hokkaido Shinbun-Sha / Sapporo
$90.00 - In stock -
Beautiful hardcover monographic catalogue on Japanese-French artist Léonard Foujita, considered "the most important Japanese artist working in the West during the 20th century", published 40 years after his death, on the occasion of the major travelling exhibition "Léonard Foujita" that toured across Sapporo, Utsunomiya, Tokyo, Fukuoka, and Sendai, 2008-2009.
First edition and now out-of-print, this comprehensive and heavily illustrated book covers Foujita's entire life and artistic career, through his years spent in France, Latin America and Japan, illustrating his many drawings, paintings, prints, ceramics, doll houses, furnishings, objects, and other works in great detail and across fold-out spreads illustrating his largest masterpieces, alongside chronology, biography, portraits of the artist and models, his home in France, atelier, materials, tools, cats, nudes, essays in Japanese and French by Tsutomu Shiba, Anne Le Diberder and others. A wonderfully in-depth book and expertly printed in Japan.
Léonard Tsuguharu Foujita (1886 – 1968) was a Japanese–French painter and printmaker born in Tokyo, Japan, who applied Japanese ink techniques to Western style paintings. His Book of Cats, published in New York by Covici Friede, 1930, with 20 etched plate drawings by Foujita, is one of the top 500 (in price) rare books ever sold, and is ranked by rare book dealers as "the most popular and desirable book on cats ever published". He spent much of his life in France, where he met Amedeo Modigliani, Pascin, Chaim Soutine, and Fernand Léger and became friends with Juan Gris, Pablo Picasso and Henri Matisse. Foujita had his first studio at no. 5 rue Delambre in Montparnasse where he became the envy of everyone when he eventually made enough money to install a bathtub with hot running water. Many models came over to Foujita's place to enjoy this luxury, among them Man Ray's lover, Kiki, who boldly posed for Foujita in the nude in the outdoor courtyard. Within a few years, particularly after his 1918 exposition, he achieved great fame as a painter of beautiful women and cats in a very original technique. He is one of the few Montparnasse artists who made a great deal of money in his early years. By 1925, Tsuguharu Foujita had received the Belgian Order of Leopold and the French government awarded him the Legion of Honor. Throughout the 1930s-40s Foujita traveled and painted all over Latin America and returned to Japan, giving hugely successful exhibitions along the way, before returning to France to become a French citizen. His last major work, at the age of 80, was the design, building and decoration of the Foujita Chapel in the gardens of the Mumm champagne house in Reims, France, which he completed in 1966, not long before his death.
Fine copy with original printers obi-strip.
2019, English
Softcover, 20 pages, 16.5 x 23.6 cm
Published by
Innen Books / Zürich
Centre d’édition Contemporaine / Geneva
$28.00 - In stock -
Dorothy Iannone's "Eros Paintings", published by Innen Books, Zürich with Centre d’édition contemporaine, Geneva, in 2019. First edition.
Eros Paintings is a collection of full colour erotic paintings by American artist Dorothy Iannone. Named after the Greek god of love (known as Cupid in Roman mythology), Iannone’s publication centers on work created over a three-year period between 1969 and 1971, all of which seek to affirm sexual pleasure, experience, and erotic love, through both visual and integrated text elements. Influenced by cultures and religions from the Asian, African, and European continents, Iannone’s work draws on various artistic sources, influencing form, medium, and subject. In one painting, I Begin to Feel Free (1970), Iannone depicts herself and former partner Swiss artist Dieter Roth as Antony and Cleopatra.
Dorothy Iannone is an American visual artist. Her autobiographical texts, films, and paintings explicitly depict female sexuality and "ecstatic unity." She lives and works in Berlin, Germany.
"...For many years now, Dorothy Iannone has been investigating through her visual work, her books and her records, the world of love and loving-styles. In her original (re)-search, she skillfully blends imagery and text, beauty and truth. She is a freedom fighter, and a forceful and dedicated artist. Her aim is no less than human liberation." - Robert Filliou, 1975
2019, English
Softcover, 24 pages, 14 x 20 cm
Published by
Innen Books / Zürich
Nieves / Zurich
$18.00 - Out of stock
Keiichi Tanaami's "Tears of dreams" is a new artist's book, published in 2019 by Innen Books and Nieves, Zürich. First edition.
The kaleidoscopically simmering works of Keiichi Tanaami interlink the American comic world, psychedelic nightmares and Japanese culture. The colourful compositions create a cosmos of their own and tell about war and disease in a surprisingly concrete way. As a child during the Second World War the artist experienced the US air attacks on Tokyo and these became important motifs in his art: roaring American bombers, Japanese searchlights, his grandfather's deformed goldfish.
Keiichi Tanaami is looked upon as the forerunner of Japanese Pop Art and is one of the country's most influential artists. Born in 1936 as the son of a textile wholesaler, he was nine years old when he experienced the bombing of Tokyo towards the end of World War II. He studied at the Musahino Art University, visited Andy Warhol in New York in 1969, worked with both Robert Rauschenberg and art critic Michel Tapié during their travels to Japan, and designed record covers for Jefferson Airplane and The Monkees. He maintained a successful career as an illustrator and a graphic designer throughout the 1960s and early '70s, and was appointed as the first artistic director of the Japanese edition of Playboy magazine in 1975. With an infinite artistic appetite, Tanaami continues working across all boundaries, embracing painting, sculpture, performance and film, as well as a professor on the Faculty of Information Design at the Kyoto University of Art and Design in Japan.
2017, English
Softcover (staple-bound), 24 pages, 13 x 19 cm
Edition of 100
Published by
Innen Books / Zürich
$14.00 - In stock -
"Selected Works from 1950’s" is a limited edition publication dedicated to the work of German spiritualist/artist Margarethe Held, published in 2017 by Innen Books in Zürich in an edition of 100 copies only.
Margarethe Held (born 1894 in Mettingen, Germany; Died 1981). In 1925 Margarethe Held entered in contact with the spirits and communicated with her deceased husband and her father. In 1950, at the age of 56, she began drawing : four hundred pastel drawings in four months – all dictated by spirits. Siwa ordered her to show to other mortals, through her compositions, that the universe contained secrets, that every being had a destiny and that nothing happened without a reason. Later on, the spirits made her write a book in which she described the messages she received, her travels to Jupiter and other planets.
The faces drawn by Margarethe Held have the appearance of masks, representing the dead, gods, spirits and elves. There are the "good dead", who possess a magical protective power, but also the "bad dead" who cause calamities and disasters. There are male or female elves, whose function is to help people in their work.
2016, English
Hardcover (w. dust jacket), 288 pages, 15.2 x 24.1 cm
Published by
University of Chicago Press / Chicago
$89.00 - Out of stock
Douglas Crimp is the rare art critic whose work profoundly influenced a generation of artists. He is best known for his work with the "Pictures Generation" the very name of which Crimp coined to define the work of artists like Robert Longo and Cindy Sherman who appropriated images from mass culture to carry out a subversive critique. But while his influence is widely recognized, we know little about Crimp's own formative experiences before "Pictures."Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City during the late 1960s through the turbulent 1970s. Crimp participated in all of what made the city so stimulating in that vibrant decade. The details of his professional and personal life are interwoven with this the particularly rich history of New York City at that time, producing a vivid portrait of both the critic and his adopted city. The book begins with his escape from his hometown in Idaho, and we quickly find Crimp writing criticism for ArtNews while working at the Guggenheim where, as a young curatorial assistant, he was one of the few to see Daniel Buren's Peinture-Sculpture before it was removed amid cries of institutional censorship. We also travel to the Chelsea Hotel (where Crimp helped the down-on-his-luck couturier Charles James organize his papers) through to his days as a cinephile and balletomane to the founding of the art journal October, where he remained a central figure for many years. As he was developing his reputation as a critic, he was also partaking of the New York night life, from drugs and late nights alongside the Warhol crowd at the Max's Kansas City to discos, roller-skating, and casual sex with famous (and not-so-famous) men. As AIDS began to ravage the closely linked art and gay communities, Crimp eventually turned his attention to activism dedicated to rethinking AIDS. Part biography and part cultural history, Before Pictures is a courageous account of an exceptional period in both Crimp's life and the life of New York City. At the same time, it offers a deeply personal and engaging point of entry into important issues in contemporary art.
Includes the work of Cindy Sherman, Jack Goldstein, Daniel Buren, Charles James, Hiroshi Sugimoto, Agnes Martin, Dan Flavin, Peter Hujar, Eva Hesse, Bernardo Bertolucci, Walker Evans, Joseph Cornell, Alfred Hitchcock, Jack Tworkov, Robert Ryman, Jane Freilicher, Robert Smithson, Michael Snow, Stanley Kubrick, Cristobal Balenciaga, Christian Dior, Brice Marden, Ellsworth Kelly, Guilio Romano, Andrea Mantegna, Merce Cunningham, Joan Jonas, Yvonne Rainer, John Baldessari, Dan Graham, Vito Acconci, Alvin Baltrop, Divine, Gordon Matta-Clark, Edgar Degas, Louise Lawler, and so many others.
2018, English
Hardcover, 144 pages, 24 x 28 cm
Published by
Lund Humphries / London
$89.00 - Out of stock
Etel Adnan (b.1925) is a Lebanese-American poet, essayist and visual artist. This will be the first book to present a full account of Adnan's fascinating life and work, using the drama of her biography, the complexity of her identity, and the cosmopolitan nature of her experience to illuminate the many layers and dimensions of her paintings and their progress over several crucial decades. Adnan came relatively late to painting - her first images were created in the mid-1960s in response to the Californian landscape. Her vocabulary of lines, shapes and colours has changed little since then, and yet there are huge variations in mood, texture, composition and material. Similarly, there is a balance between understanding her paintings as pure abstractions, emulating the shape of thought, and seeing them for the actual landscapes of the many places Adnan has loved, embraced and responded to. Tackling the complexities of her subject with skill and insight, Kaelen Wilson-Goldie unpacks Adnan's multi-layered career to capture the full scope of her artistic endeavours and impressive achievements through this profusely illustrated monograph.
2016, English
Softcover, 296 pages, 20.6 x 25.9 cm
Published by
Kerber Verlag / Berlin
$68.00 - Out of stock
This major monographic catalogue documents the highly conceptual work of Austrian installation artist Rudolf Polanszky (born 1951), which aims to bring abstract mathematical and scientific concepts to life. Polanszky's oeuvre is realized in processed and used materials such as acrylic glass, aluminum and cardboard. Profusely illustrated in colour throughout, with accompanying texts (in English) by Benedikt Ledebur, Dieter Buchhart, Alexandra Schantl.
2016, English
Hardcover, 280 pages, 31.6 x 3.1 x 26 cm
Published by
Prestel / Munich
$120.00 - Out of stock
The resurgent interest in contemporary painting in recent years has coincided with an explosion of new digital media and technologies. Contrary to canonical accounts premised on medium-specificity, painting’s most advanced positions since the 1960s have developed in productive friction with contemporaneous forms of mass media and culture. From the rise of television and computers to the Internet revolution, painting has assimilated precisely those cultural and technological developments that were held responsible for its presumed “death.” Moving far beyond its technical definition as “oil on canvas,” painting during the information age has consistently offered a site for negotiating the challenges of a mediated life-world.
Featuring over 230 works by 107 artists, Painting 2.0 is one of the largest and most comprehensive exhibitions of contemporary painting in recent years.
Artists include:
Kai Althoff, Ei Arakawa/Shimon Minamikawa, Monika Baer, Nairy Baghramian, Georg Baselitz, Jean-Michel Basquiat, Lynda Benglis, Sadie Benning, Judith Bernstein, Joseph Beuys, Ashley Bickerton, Cosima von Bonin, KAYA (Debo Eilers & Kerstin Brätsch), Günter Brus, Daniel Buren, Merlin Carpenter, Leidy Churchman, William Copley, René Daniëls, Guy Debord/Asger Jorn, Carroll Dunham, Mary Beth Edelson, Thomas Eggerer, Michaela Eichwald, Nicole Eisenman, Jana Euler, Louise Fishman, Andrea Fraser, Isa Genzken, Mary Grigoriadis, Philip Guston, Wade Guyton, Guyton/Walker, Raymond Hains, Harmony Hammond, David Hammons, Keith Haring, Rachel Harrison, Mary Heilmann, Eva Hesse, Charline von Heyl, Ull Hohn, Jacqueline Humphries, Jörg Immendorff, Jasper Johns, Joan Jonas, Mike Kelley, Martin Kippenberger, Yves Klein, Jutta Koether, Michael Krebber, Manfred Kuttner, Maria Lassnig, Sherrie Levine, Glenn Ligon, Lee Lozano, Konrad Lueg, Michel Majerus, Piero Manzoni, Kerry James Marshall, Hans-Jörg Mayer, John Miller, Joan Mitchell, Ree Morton, Ulrike Müller, Matt Mullican, Elisabeth Murray, Cady Noland, Hilka Nordhausen, Albert Oehlen, Laura Owens, Steven Parrino, Ed Paschke, Howardena Pindell, Sigmar Polke, Seth Price, Stephen Prina, R.H. Quaytman, Robert Rauschenberg, David Reed, Gerhard Richter, Mimmo Rotella, Niki de Saint Phalle, Mario Schifano, Amy Sillman, Sylvia Sleigh, Josh Smith, Joan Snyder, Reena Spaulings, Nancy Spero, Gruppe SPUR, Frank Stella, Walter Swennen, Paul Thek, Rosemarie Trockel, Cy Twombly, Jacques de la Villeglé, Kelley Walker, Andy Warhol, Sue Williams, Karl Wirsum, Martin Wong, Christopher Wool, Heimo Zobernig, u.a.
1995, English
Hardcover (w. dust jacket), 120 pages, 25 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Harry N. Abrams / New York
$65.00 - Out of stock
American painter Georgia O'Keeffe spent the last 40 years of her life in quiet isolation in New Mexico in the village of Abiquiu. In 1979 She permitted Colorado photographer Myron Wood to photograph at her properties in Abiquiu and Ghost Ranch. Over the following 2 1/2 years he made hundreds of photographs of the artist, the people close to her and of the house, gardens and surrounding landscape. Here are reproduced 79 of those photographs which evoke the spirit of the place as O'keeffe inhabited it.
First edition of this lovely, intimate hardcover photo book. Accompanying text by Christine Taylor Patten.
Very Good copy in VG dust jacket, preserved in mylar wrap.
Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986) was an American artist. She was best known for her paintings of enlarged flowers, New York skyscrapers, and New Mexico landscapes. O'Keeffe has been recognized as the "Mother of American modernism".
1980, French
Hardcover (w. dust jacket), 179 pages, 30.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Clairefontaine / Lausanne
$140.00 - Out of stock
The most extensive monograph on the work of Argentine artist Leonor Fini (1918-1996), published in 1980 by Clairefontaine, Lausanne. With text by Constantin Jelenski, this over-sized hardcover volume is profusely illustrated throughout with Fini's incredible paintings, along with portraits, a list of exhibitions and bibliography.
Leonor Fini (1907–1996), an Argentine painter, designer, illustrator, and author, known for her depictions of powerful women, is considered one of the most important women artists of the twentieth century and also one of the most misunderstood.
Fini had no formal artistic training. Born in Buenos Aires, she travelled extensively from a young age, living in Milan and then moving to Paris in 1931-32 where she was considered part of a pre-war generation of Parisian artists, becoming acquainted with Carlo Carrà and Giorgio de Chirico, who inspired much of her work, and also Paul Éluard, Max Ernst, Georges Bataille, Henri Cartier-Bresson, Picasso, Salvador Dalí, and André Pieyre de Mandiargues. She had her first one person show in Paris when she was twenty-five at a gallery directed by Christian Dior. Her work caught on fast and was included in the pivotal and groundbreaking Fantastic Art, Dada and Surrealism exhibition at the MOMA in 1936 while at the same time she had her first New York exhibition at the avant-garde Julien Levy Galley. Surrealist artists in France came to know her as important in the movement. She is mentioned in most comprehensive works about surrealism, although she did not consider herself a surrealist, nor a part of any particular artistic movement. Fini preferred to stake her own claim on modernism with a vision that owes more to the farthest shores of her imagination than to any affiliation with art trends, schools or movements. The originality of her art as well as her intelligence, famous wit and charisma accorded her celebrity status in the Paris art world and beyond beginning in the late thirties. Her panache and glamour, once they found a place in the collective imagination of the time, turned her into a much-publicized fashion and feminist icon. Always controversial, with as many detractors as admirers, she lived and painted consummately on her own terms.
In Paris in 1939 she curated the inaugural exhibition of her friend Leo Castelli’s first gallery (of surrealist furniture) and shortly thereafter, just before the German occupation, she traveled with André and a new lover to Arcachon in the southwest of France to begin waiting out the war. She remained there for almost a year with Salvador and Gala Dali before moving to Monte Carlo where she met the young Italian diplomat, Stanislao Lepri who became one of the great and enduring loves of her life. As the war intensified she moved with Stanislao to Rome where she lived, worked and formed close friendships with Anna Magnani, Luchino Visconti and other leading figures of world of art and letters. After the Liberation of Paris in 1946 she returned there to live and work for the remainder of her life, exhibiting extensively around the world.
The predominant themes in Leonor Fini’s art are sexual tensions, mysteries and games. One of her favored subjects is the interplay between the dominant female and the passive male, and in many of her most powerful works the female takes the form of the sphinx to which she felt a strong identification. She was also a renowned portraitist, and among her subjects were such friends as writers André Pieyre de Mandiargues, Jean Genet, Klaus Mann (son of Thomas), such actresses as Anna Magnani and Suzanne Flon, ballerina Margot Fonteyn, film director Luchino Visconti and artists Meret Oppenheim and Leonora Carrington.
Her genius for stage and screen design is evident in her numerous ground breaking theater decors with their elaborate conception, costumes and phantasmagorical masks. She designed for the Paris Opera, George Balanchine’s ballet Palais de Crystal, and choreographer Roland Petit’s company Ballets de Paris, for Maria Callas at the La Scala theater in Milan, as well as over seventy productions at theaters in Paris between 1946 and 1969. She had a unique talent for film design and created costumes for Fellini's 8 ½ as well as for Renato Castellani's Romeo and Juliet and John Huston’s A Walk with Love and Death.
In the 1970s, she wrote three novels, Rogomelec, Moumour, Contes pour enfants velu and Oneiropompe. Her friends included Jean Cocteau, Giorgio de Chirico, and Alberto Moravia, Fabrizio Clerici and most of the other artists and writers inhabiting or visiting Paris. She illustrated many works by the great authors and poets, including Edgar Allan Poe, Charles Baudelaire and Shakespeare, as well as texts by new writers. She was very generous with her illustrations and donated many drawings to writers to help them get published. She is, perhaps, best known for her graphic illustrations for Histoire d'O.
The provocative and much-publicized life of Leonor Fini was pure theater. Her story is that of a hard-won struggle to forge her life as a woman artist in a man’s world and to invent herself on her own terms. It is the story of a woman possessing exceptional independence, a highly original vision and great personal magnetism who lived passionately through her art and friendships and in the process became a feminist role model.
Very Good copy in Very Good dust jacket.
2018, English
Softcover, 66 pages,18.4 x 25.4 cm
Published by
Lévy Gorvy / New York
$38.00 - Out of stock
Accompanying an exhibition at the Archivio Carol Rama at the Palazzo Ca' nova in Venice, this publication includes full-colour illustrations of Carol Rama's works featured in the show – an unprecedented selection representing the broad range of materials and styles that comprise her iconoclastic oeuvre. The catalogue also features newly commissioned texts by Lia Gangitano and Andrea Bajani, as well as an introduction by Maria Cristina Mundici and Raffaella Roddolo.
2017, English
Softcover, 112 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
ACCA / Melbourne
$65.00 - Out of stock
The quickly sold out catalogue published to accompany the exhibition 'Sovereignty' at the Australian Centre for Contemporary Art (ACCA), 17 December 2016 – 26 March 2017.
With a foreword by Arweet Carolyn Briggs, the Sovereignty catalogue features essays by exhibition curators Paola Balla and Max Delany, and commissioned texts by celebrated author Dr Tony Birch and Yorta Yorta curator and writer Kimberley Moulton.
Encompassing extensive documentation of artists’ works in the exhibition printed in full colour, the publication serves as a companion to the exhibition, presenting the vibrant and diverse visual art and culture of the continuous and distinct nations, language groups and communities of Victoria’s sovereign, Indigenous peoples. Sovereignty focuses on contemporary art of First Nations peoples of South East Australia, alongside keynote historical works, to explore culturally and linguistically diverse narratives of self-determination, identity, sovereignty and resistance. Bringing together new commissions, recent and historical works by over thirty artists, Sovereignty is structured around a set of practices and relationships in which art and society, community and family, history and politics are inextricably connected. A diverse range of discursive and thematic contexts are elaborated: the celebration and assertion of cultural identity and resistance; the significance and inter-connectedness of Country, people and place; the renewal and re-inscription of cultural languages and practices; the importance of matriarchal culture and wisdom; the dynamic relations between activism and aesthetics; and a playfulness with language and signs in contemporary society.
Artists featured: Brook Andrew, William Barak, Lisa Bellear, Jim Berg, Briggs, Trevor Turbo Brown,
Amiel Courtin-Wilson / Uncle Jack Charles, Maree Clarke, Vicky Couzens, Destiny Deacon & Virginia Fraser, Marlene Gilson, Korin Gamadji Institute, Brian Martin, Kent Morris, Clinton Nain, Glenda Nicholls, Bill Onus, Steaphan Paton, Bronwyn Razem, Reko Rennie, Steven Rhall, Yhonnie Scarce, Warriors of the Aboriginal Resistance (WAR), Peter Waples-Crowe, Lucy Williams-Connelly
Out of print edition of 750 copies.
Very Good. Like New, but with light marking to cover.
2016, English
Softcover, 48 pages, 42 x 30 cm
Published by
Griffith University / Brisbane
$30.00 - Out of stock
Published to accompany the exhibition Jenny Watson : Chronicles, 14 July – 3 September 2016, Griffith University Art Museum, the exhibition and catalogue take a thematic approach to Watson’s work, focusing on the prevalence of text throughout her career, and the powerful role it has played in constructing her highly personal narratives. The works included in the exhibition track Watson’s career trajectory from the earliest appearance of text in the 1970s, through the deliberate deskilling of her painterly style, to a new suite of works where text, painting and objects interact. Seminal works include the suburban house ‘double paintings’, the newspaper and magazine pages, and the An Original Oil Painting duo of works, which took Watson’s conceptual project to its most reductive point. The inclusion of text and the painted image has formed a crucial duality in Watson’s practice and its various manifestations provides the thread connecting the works in the exhibition. While the images in Watson’s more recent paintings have simplified, the relationship between the elements has become more complex.
1987, English
Softcover, 28 pages, 210 x 210 mm
1st edition, Out of print title / As new,
Published by
200 Gertrude Street / Melbourne
$25.00 - Out of stock
Catalogue published to accompany the exhibition "Ten by Ten: 1975-1985" (curated by Lesley Dumbrell) at 200 Gertrude Street, Melbourne, November 20 - December 12, 1987.
Features the work of Micky Allen, Howard Arkley, Rosalie Gascoigne, Elizabeth Gower, Dale Hicky, Robert Hunter, Bea Maddock, John Nixon, Peter Tyndall and Jenny Watson.
Introduction by Lesley Dumbrell.
2017, English
Softcover, 92 pages, 22.5 x 15.5 cm
Published by
Griffith University / Brisbane
$27.00 - Out of stock
Gordon Hookey’s cycle of monumental paintings MURRILAND! (2015–ongoing) re-envisions the history of his home state of Queensland, Australia, surveying pre-colonisation to the present day, unravelling received versions of history and confronting non-Indigenous narratives. This publication GORDON HOOKEY: Summoning Time, Painting & Politikill Transition in MURRILAND! compiles materials surrounding the first canvas in the series, coinciding with its presentation in documenta 14. It features Hookey’s source material; an essay by Aboriginal historian Michael Aird; a conversation between Gordon Hookey, Frontier Imaginaries curator Vivian Ziherl, and documenta 14 curator Hendrik Folkerts; and a dialogue between Gordon Hookey and anthropologist Johannes Fabian. This book is published as a collaboration between Griffith University, Frontier Imaginaries, documenta 14, and the Van Abbemuseum.
2017, English
Softcover, 56 pages, 28 x 21 cm
Published by
Griffith University / Brisbane
$25.00 - Out of stock
Dale Harding’s wall murals, sculptures, and installations explore the social and political histories and contemporary realities of his family and people. A descendant of the Bidjara, Garingbal, and Ghungalu peoples, Harding employs diverse techniques and traditions, including domestic handicrafts, ochre stencilling, woodcarving, and silicone casting. Dale Harding: Body of Objects has been developed by Griffith University and documenta 14 to introduce Harding’s work to international audiences in conjunction with his inclusion in documenta 14. Featuring an interview with documenta 14 curator Hendrik Folkerts, an essay by Angela Goddard and a wide selection of images from the studio and exhibitions, Dale Harding: Body of Objects presents Harding’s works and processes, giving context and background to the specific histories he draws on to develop his works.
1967, Japanese
Softcover, 6 page card fold-out w. insert, 23.8 x 23.8 cm
1st Edition, Out of print title / used / very good
Published by
Tokyo Gallery / Tokyo
$100.00 - In stock -
Incredibly scarce catalogue published on the occasion of the 1967 exhibition "19 Surrealists" held at Tokyo Gallery, Japan. Fold-out catalogue with insert, illustrated with the exhibited works (along with biographies in Japanese) by Enrico Baj, Hans Bellmer, Victor Brauner, Salvador Dali, Paul Delvaux, Max Ernst, Wifredo Lam, Felix Labisse, René Magritte, Man Ray, Andre Masson, Roberto Matta, Joan Miro, Taro Okamoto, Francis Picabia, Kurt Schwitters, Max-Walter Svanberg, Yves Tanguy, Wols.
Very Good with light wear and mild spotting and a couple of pencil notations in Japanese. Preserved in sleeve.