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.
1987, English
Hardcover (w. dustjacket), 456 pages, 22.3 x 17.5 cm
1st Edition, Out of print title / used / very good
Published by
October Books / New York
The MIT Press / Massachusetts
$95.00 - Out of stock
First edition of the heavy "OCTOBER: The First Decade, 1976 - 1986", which brings together a selection of some of the most important and representative texts, many from issues long out of print, that have appeared in one of the foremost journals in art criticism and theory - October.
Contributors include Rosalind Krauss, Sergei Eisenstein, Peter Handke, Georges Didi-Huberman, Mary Ann Doane, and Hans Haacke. Their essays are organized under the categories of "the index, historical materialism, the critique of institutions, psychoanalysis, rhetoric, and the body." -- publisher's statement.
Texts by Annette Michelson, Rosalind Krauss, Douglas Crimp, Joan Copjec, Nadar, Georges Didi-Huberman, Roger Caillois, Benjamin H.D. Buchloh, Sergei Einstein, Maria-Antonietta Macciocchi, Rosalyn Deutsche, Cara Gendel Ryan, Yve-Alain Bois, Daniel Buren, Louise Lawler, Christopher Philips, Homi Bhabha, Mary Ann Doane, Joel Fineman, Babette Mangolte, Peter Handke, Anette Michelson, Georges Bataille, Hollis Frampton, Robert Morris, Hans Haacke, and Trisha Brown.
"October is among the most advanced journals of the 1970s and 1980s in the fields of art theory, criticism, history, and practice. [Its editors] are intimately familiar with the cultural and political avant-garde of Europe and the U.S. and are able to attract its best thinkers.... Few, if any, journals could receive a higher recommendation."—Choice
2016, English
Hardcover, 192 pages, 30. 5 x 23.5 cm
Out of print title / as new
Published by
Koenig Books / London
Studio Voltaire / London
$120.00 - Out of stock
Now out of print.
Kantarovsky’s practice encompasses painting, drawing, sculpture and occasionally film. His signature works often have thinly applied, wiped, or scraped layers of paint, and feature narrative scenes populated by isolated, sinewy figures. His paintings frequently include indirect sociopolitical commentary and a critical look at the idea of the suffering artistic genius. The publication, his first monograph will feature a selection of recent works alongside his Studio Voltaire commission, Apricot Juice. A collaboration between Kantarovsky and Lithuanian-born performance artist leva Misevičiūtė, Apricot Juice was devised around two distinct parts – a language and movement based performance by Misevičiūtė and a group of five largescale paintings by Kantarovsky. The point of departure for the collaborative project was Mikhail Bulgakov’s enigmatic masterpiece novel The Master and Margarita, a narrative woven around a visit by the Devil to the aggressively atheist Soviet Union.
2005, English
Hardcover, 294 pages, 21 x 23.5 cm
1st Edition, Out of print title / used / good
Published by
The MIT Press / Massachusetts
$59.00 $25.00 - Out of stock
In Nothing Less than Literal, Mark Linder shows how minimalist art of the 1960s was infiltrated by architecture, resulting in a reconfiguration of the disciplines of both art and architecture. Linder traces the exchange of concepts and techniques between architecture and art through a reading of the work of critics Clement Greenberg, Colin Rowe, Michael Fried, and the artist-writer Robert Smithson, and then locates a recuperation of "the architecture of minimalism" in the contemporary work of John Hejduk and Frank Gehry.
"Literal" was not only a term used by Fried to attack minimalism; it was a key term for Greenberg as well, and in both cases their use of that term coincides with discussions of the architectural qualities of art. Linder gives us the first thorough examination of the role that architectural concepts, techniques of representation, and practices played in the emergence of minimalism. Beginning with a comparison of the "postcubist" writings of Clement Greenberg and Colin Rowe, he reveals surprising affinities in their critical formulations of pictorialism -- including the use by both of an analogy between cubist collage and architectural space. This is followed by an account of the sharp differences between Michael Fried and Robert Smithson; Linder contrasts the sublimation of space and refusal of architecture in Fried's concept of the "radically abstract" with Smithson's explicit embrace of architectural thinking and his complex concepts of space. Finally, Linder looks at particular instances in the work of two architects who, through collaboration with artists, engaged the legacy of literalism -- John Hejduk's Wall House and Frank Gehry's decade-long fascination with the figure of the fish. Linder shows how the "productive impropriety" of transdisciplinary borrowing in the discourses surrounding minimalism serves as a counterexample to the prevalent perception of "disciplines" as conservative and institutionalizing.
Out of print hardcover first edition. This copy was part of a run that had the page block glued into the covers backwards.
2010, English
Softcover, 144 pages (colour ills, 16 wrapping paper inserts), 345 x 240 mm
1st Edition, Out of print title / used / very good
Published by
Serpentine Gallery / London
Walther König / Köln
$110.00 - In stock -
This artist’s book, designed in collaboration with Manuel Raeder, re-imagines the pages of a catalogue as sheets of wrapping paper, which are intended to be torn out by the reader and used to wrap gifts. The designs, conceived by Nick Mauss specifically for this book, are derived from various sources in the fine and decorative arts. The wrapping paper materialises those isolated elements on which the mind snags and questions the distinctions between the presentation of gifts and the presentation of textual or visual information.
Illustrated essays by Emmelyn Butterfield-Rosen and Kirsty Bell explore the cultural and philosophical context of Mauss’ work and the position of this book within it.
Includes 16 sheets of colour wrapping paper exclusively designed by the artist for this publication.
2002, English
Softcover, 152 pages,
1st Edition, Out of print title / used / very good
Published by
Craftsman House / St Leonards
$38.00 - Out of stock
In April 2000, the Australian art critic Rex Butler was invited to present a series of lectures to students and members of the public at Metro Arts, Brisbane. Now out of print, Rex Butler's "The Secret of Australian Art" compiles these lectures, offering insight into what a critic does and introduces issues of interest in contemporary Australian art, such themes as the problem of irony in post-modern art, the relation of art to everyday life and recent post-colonial approaches in Australian art history and Aboriginal art, illustrated with case studies.
Full contents:
Lecture 1. Camp: The rise and fall of the smile; The case of Michael Stevenson
Lecture 2. The Real: 'Every Day', the task of mourning; The case of Dale Frank; The case of Richard Dunn
Lecture 3. Abstraction: The anamorphic monochrome; The case of John Nixon
Lecture 4. The Feminine: Radical revisionism; The case of Merilyn Fairskye
Lecture 5. Post-Colonialism: Australian art history and revisionism; The case of Augustus Earle
Lecture 6. Aboriginality: 'Bright Shadows': art, aboriginality and aura; The case of Kathleen Petyarre.
Includes bibliographical references and index.
Professor Rex Butler is an art historian, writer and Professor (Art History & Theory) at Monash University. His research interests include contemporary Australian art and art criticism; Post-war American art; and Postmodernism. Rex Butler is currently editing a collection entitled 'Radical Revisionism' on Australian post-colonial art and two volumes of Slavoj Zizek's selected writings. He is the author six books including, What is Appropriation? (1996); Jean Baudrillard: The Defence of the Real (1999); A Secret History of Australian Art (2002); and Borges' Short Stories: A Reader's Guide (2010).
1985, Japanese
Softcover, 126 pages, 24 x 25 cm
1st Edition, Out of print title / used / very good
$50.00 - Out of stock
A seldom seen book (the only one we know of) on the work of Japanese surrealist painter Gentaro Komaki. Published on the occasion of a major retrospective exhibition held at the Iwaki Museum of Modern Art in 1985. Lavishly illustrated throughout the entire book with Komaki's vivid paintings, mostly in full-colour, this monographic catalogue also features his writing, biography, full exhibition history, full work list, bibliography and much more. All texts in Japanese. An incredible visual overview.
Gentaro Komaki (小牧源太郎 1906 – 1989), who is still largely unknown or exhibited outside Japan, was regarded by many as one of the highly influential Japanese avant-garde artists of surrealist style. He was very active from late 1930s until the end of his life in 1989. The many artworks of his entire artistic lifespan are in permanent collection of leading art institutions all over Japan. His work was primarily concerned with the surrealist approach of pursuing an unseen inner-world, rather than solely representing one that exists. After exploring ideas and iconography of Buddhism in his work, he continued pursuing folklore subjects rooted in Japanese folk beliefs such as "Inari" and "Daigojin", creating a unique cosmological world of what has been termed "unreasonable aesthetics".
2001, English / Japanese
Softcover, 250 pages, 23 x 29 cm
Out of print title / used / very good
Published by
Museum of Modern Art / Wakayama
$70.00 - Out of stock
Great, heavy monographic catalogue published in 2001 in Japan on the work of Max Ernst.
Introductory essays in English/German/Japanese accompany a lavishly colour illustrated book filled with reproductions of Ernst's many works on paper, paintings, a huge section dedicated to his many sculptures, and an illustrated history of his book works, postcards, ephemera. Also a section of photographs, exhibition history, biography, bibliography. Wrapped in protective, printed wax jacket (not pictured).
Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism.
2016, French
Hardcover (w. wrap and dust-jacket), 192 pages, 24 x 31 cm
Published by
Mamco / Genève
$79.00 - Out of stock
Robert Lebel (1901-1986) was a poet, novelist, essayist, art historian, and painting expert. He took part in the Surrealists' activities and wrote Marcel Duchamp's first monograph in 1959. This book is a facsimile of the original edition in French of Sur Marcel Duchamp Robert Lebel published in 1959 in Paris by Trianon Press. This historical book by Robert Lebel - the first to be published on Marcel Duchamp - is an introduction to the work and personality of a single artist but also a reconsideration of the situation of the painter in contemporary society and a thorough analysis of mobile creative activity. It is supplemented by texts by Marcel Duchamp, André Breton and HP Roché, a bibliography and a catalog raisonné of all the works of Duchamp and is profusely illustrated throughout with images in black and white and inserted, die-cut colour plates. The layout of this book was itself even created and designed by Marcel Duchamp himself and is beautifully reproduced and printed here on paper stocks and using production methods that reflect the qualities of the original book.
2010, English / Japanese
Hardcover, 368 pages, 22.4 x 28 cm
1st Edition, Out of print title / Used*,
Published by
National Art Center / Tokyo
$90.00 - Out of stock
Fantastic, visually dense, heavy monograph on the life and work of Man Ray. "At first sight, another book surveying the life and work of this versatile and inventive artist would seem superfluous, yet surprisingly, this excellent catalogue contributes a wealth of new information, thus providing a valuable contribution to our understanding of Man Ray. The treasure trove of images and objects collected here is drawn from the large archives of the Man Ray Trust in Long Island, New York, and includes little known early works, documents and objects from his private life, working drawings and sketches for major works as well as innumerable familiar masterpieces. The publication is accompanied by essays and an extensive chronology." Introductory texts are "The Fate of Objects," by Noriko Fuku and "Unconcerned But Not Indifferent" by John P. Jacob.
2006, Japanese
Hardcover (w. dustjacket, printed slipcase, obi-strip, insert booklet), 88 pages, 25 x 30 cm
1st Edition, Out of print title / Used*,
Published by
Kawade Shobo Shinsha / Tokyo
$70.00 - Out of stock
Oversized Japanese monograph on Man Ray, published in a deluxe series of books on modern surrealist artists, this being volume 4 - dedicated to the work of Man Ray. Each hardcover volume comes wrapped in cloth with glossy illustrated dust-jacket, housed in a printed cardboard slipcase, wrapped in the original printer's obi-strip. Primarily the books are made up of a selection of large full-colour and black and white large reproductions of the works of each artist. This book presents page after page of Man Ray's diverse work across painting, drawing, sculpture, photography, and his famed Rayographs, all printed beautifully in Japan. Largely an oversized visual book, what small amount of text here is in Japanese. Comes with a small inserted booklet of Japanese text as well. In wonderful, almost As New condition, protected in plastic.
2008, English
Softcover, 92 pages, 15 x 23 cm
1st Edition, Out of print title / used / fine
Published by
Standard Books / Oslo
$70.00 - Out of stock
Very scarce catalogue published by Standard Oslo in 2008 to accompany the exhibition "Aleatoric Contracts", curated by Eivind Furnesvik, held by Standard (Oslo) during Art Basel Miami Beach. This publication was given away in a limited edition to visitors.
Along with texts by Mikkel Astrup and Oscar Tuazon, the publication features many pages dedicated to the works of each exhibiting artist : Gardar Eide Einarsson, Matias Faldbakken, Kim Hiorthoy, Josh Smith, and Oscar Tuazon.
2011, English
Hardcover (Clothbound), 80 pages, 22.5 x 15 cm
Out of print title / as new
Published by
Mousse / Milan
$50.00 $30.00 - Out of stock
What does it mean to be both a painter and a sculptor in their most traditional guises, as well as an artist tied to transcribing reality at a moment in which the production and distribution of images has become so immediate and so intimately bound up with the way we live through our daily lives?
This now long out of print, first monographic book on Sinsel, designed in close collaboration with the artist, was published to coincide with Daniel Sinsel’s first solo exhibition at Chisenhale Gallery, London, the first in a public institution. Produced by Mousse in association with Sadie Coles HQ, London, and with support from The Breeder, Athens, Office Baroque, Antwerp, and Galerie Micky Schubert, Berlin.
Out of print.
2008, English / French / German
Softcover, 168 pages (ill colour and b&w), 27 x 21.5 cm
1st edition, Out of print title / As new,
Published by
Walther König / Köln
$200.00 - Out of stock
Now out of print, this wonderful catalogue was published to accompany a retrospective exhibition at the Staatliche Kunsthalle Baden-Baden (October 2007 –January 2008) of the work of André Cadere (1934 – 1978). It is one of the finest monographs on Cadere's career.
Cadere, who lived in Paris from 1971 belongs – alongside Daniel Buren, Niele Toroni and François Morellet – to the most important protagonists of French Minimal and Concept Art of the 1970s.
His work combines a reduced formal sculptural language with a conceptual approach that questions the workings of the art system – a combination which has become of major importance to a younger generation of artists in recent years. His premature death was preceded by an intense albeit short working period of about eight years. His consistent refusal to bow to the rules of the art market might explain why his work has been underestimated to this day.
1976, French
Softcover, 202 pages, 30 x 23 cm
1st Edition, Out of print title / used / good
Published by
Galeries Nationales du Grand-Palais / Paris
$85.00 - Out of stock
First edition of this great 200 pages French monographic catalogue on Francis Picabia, published on the occasion of the major exhibition at National Galleries of the Grand Palais, 23 January-29 March, 1976.
Lavishly illustrated throughout with reproductions of over 200 of Picabia's paintings, drawings, designs, typography, poems, alongside many photos, portraits, texts (in French), biography, bibliography, and much more.
Francis Picabia (22 January 1879 – 30 November 1953) was a French avant-garde painter, poet, typographist, self-described funny guy, idiot, failure, pickpocket, and anti-artist par excellence. After experimenting with Impressionism and pointillism, Picabia became associated with Cubism. His highly abstract planar compositions were colourful and rich in contrasts. He was one of the defining figures in the Dada movement in the United States and in France; indeed, Andre Breton called Picabia one of the only "true" Dadas. He was later briefly associated with Surrealism, but would soon turn his back on the art establishment.
*Good - some wear to cover edges, corners, spine, otherwise very good throughout.
2017, English / French
Softcover, 220 pages, 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - In stock -
This issue seeks to reflect the post-Trump, post-Brexit and French pre-election climates at a time of reconfiguration of habitual political representations and polarizations. We decided to favour reports, a more reactive writing format on issues of concerns in art schools, universities, institutions: Angela Davis and Gina Dent’s talk in Paris, the exhibition Soulèvements at the Musée du Jeu de Paume, The Color Line at the Musée du Quai Branly on African-American artists and segregation…
American Goodness - Elise Duryee-Browner
If our Lives are Black. On Angela Davis and Gina Dent’s conference at La Maison de l’Amérique Latine, Paris - Claire Fontaine
αντιanti
Interview with Ilaria Bussoni. On the symposium “Sensible Commons” at GNAM, Rome - May
Dynamis, 2016–2017 Athens and Kassel simultaneously and in continuum - Georgia Sagri
On Soulèvements by Georges Didi-Huberman at Jeu de Paume, Paris - Giovanna Zapperi
On the film Two A.M. by Loretta Fahrenholz at Museum Fridericianum, Kassel - Tobias Madison
On Amelie von Wulffen at Barbara Weiss, Berlin - Jay Chung
On Yuki Kimura at CCA Wattis, San Francisco - J. Gordon Faylor
Behind Enemy Lines: Black Power & Taboo. On The Color Line: African-American Artists and Segregation at Musée du Quai Branly, Paris - Kari Rittenbach
On Morag Keil at Eden Eden, Berlin - Nicholas Tammens
On Greg Parma Smith at MAMCO, Geneva - Enzo Shalom
Francis Picabia seen from Switzerland and America. On Francis Picabia’s retrospectives at Kunsthaus Zurich and at MoMA, New York - Carole Boulbès
Villa Noailles - Jeanne Graff
Weather report
Limited Editions by Jean-Luc Moulène and Bernadette Corporation with Benjamin Alexander Huseby
Reprint booklet: LGG$B
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, 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 advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2011, English / Japanese
Softcover, 176 pages, 23 x 25 cm
1st Edition, Out of print title / used / good
Published by
The National Museum of Modern Art / Tokyo
$38.00 - Out of stock
Great retrospective monographic catalogue on the work and life of Tarō Okamoto, published on the occasion of the major exhibition "Tarō Okamoto - The 100th Anniversary of His Birth", March 8 - May 8, 2011, The National Museum of Modern Art, Tokyo.
Tarō Okamoto (岡本 太郎 Okamoto Tarō, February 26, 1911 – January 7, 1996) was a Japanese artist noted for his abstract and avant-garde paintings and sculpture. He studied at Panthéon-Sorbonne in the 1930s, and created many works of art after World War II. He was a prolific artist and writer until his death. Among the artists Okamoto associated with during his stay in Paris were André Breton (1896–1966), the leader of Surrealism, and Kurt Seligmann (1900–62), a Swiss Surrealist artist, who was the Surrealists' authority on magic and who met Okamoto's parents, Ippei and Kanoko Okamoto, during a trip to Japan in 1936. Okamoto also associated with Pablo Picasso, Man Ray, Robert Capa and Capa's partner, Gerda Taro, who adopted Okamoto's first name as her last name.
Okamoto's prolific work throughout Japan (from large public commissions to exhibitions) were rooted in his deep interest and research on the mysteries of Japan, sparked by a visit he made to the Tokyo National Museum. After having become intrigued by the Jōmon wares he found there, he journeyed all over Japan in order to research what he perceived as the mystery which lies beneath Japanese culture, and then he published Nihon Sai-hakken-Geijutsu Fudoki (Rediscovery of the Japan-Topography of Art).
One of his most famous works, Tower of the Sun, became the symbol of Expo '70 in Suita, Osaka, 1970. It shows the past (lower part), present (middle part), and future (the face) of the human race. It still stands in the center of the Expo Memorial Park.
After being lost for 30 years in Mexico, on November 17, 2008, his mural "The Myth of Tomorrow" (明日の神話 asu no shinwa), depicting the effects of an atomic bomb, was unveiled in its new permanent location at Shibuya Station, Tokyo. In it, a human figure burns and others appear to run from flames. The work was made for the Hotel de Mexico in Mexico city by Manuel Suarez y Suarez.
Kawasaki, his hometown, has constructed the Taro Okamoto Museum of Art in Tama Ward, northwest of the city. His studio/home in Aoyama, Tokyo, is also open to visitors today.
1996, Japanese / English
Softcover (w. inserted exhibition ephemera), 198 pages, 22 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Museum of Contemporary Art / Tokyo
$45.00 - Out of stock
Book published for the exhibition "1964: A Turning Point in Japanese Art" in 1996 at Museum of Contemporary Art, Tokyo. The work was divided into seven categories: 'Japanese-style Paintings', 'Oil Paintings', 'Prints', 'Sculptures', 'Anti-art Trend', '#32 The Venice Biennale' and 'Reportage on the Time', all illustrated in full-colour. A chronology from 1963 to 1965, a detailed bibliography as well as checklist of the exhibition and a group of essays (in English and Japanese) are included in this publication. This copy also includes inserted ephemera from the exhibition - ticketstub, adverts, pamphlets, guides, etc.
Includes work by Natsuyuki Nakanishi, Tadanori Yokoo, Ay-o, Nobuaki Kojima, Genpei Akasegawa, Tomio Miki, Kikuko Morimoto, Koichi Tateishi, Toshinobu Onosato, Yoshishige Saito, Taro Okamoto, Sadamasa Motonaga, Yuki Katsyra, Jiro Yoshihara, Saburo Aso, Kumi Sagai, Kazuo Shiraga, Masaaki Yamada, Tadaaki Kuwayama, Atsuko Tanaka, Minami Tada, Yoshikuni Iida, Bukichi Inoue, Shu Eguchi, Katsuhiro Yamaguchi, Matsuzawa Yutaka, Shinjiro Okamoto, Shusaku Arakawa, Yukihisa Isobe, Akira Shimizu, Jiro Takamatsu, and many more.
'This exhibition spotlights the year of the Tokyo Olympics, 1964, bringing back the art scene of that year in the museum galleries. Many previous exhibitions have shown how important the decade of the sixties was for the development of postwar art. [...] We have chosen to focus on 1964 as a significant dividing line between the first and second half of this fruitful decade. While there are few precedents fro an exhibition concentrating on a single year, we felt that an objective examination of a limited period could give a more precise picture of the art of that time and the ways in which it was related to social changes. There were not many art events directly related to the Tokyo Olympics, especially when compared to the international exposition held in Osaka in 1970. However, the many art movements and ideas which emerged that year had an extremely important effect on things to come. In this exhibition, we show how the year of the Tokyo Olympics, that great landmark of postwar history, was also a turning point in the art history of this country and we present a comprehensive view of the art produced that year. [...]' (Foreword by Kamon Yasuo)
1983, Japanese
Softcover, 150 pages, 22 x 24 cm
1st Edition, out of print title / Used*,
Published by
Tokyo Metropolitan Art Museum / Tokyo
$90.00 - Out of stock
Great book published on the occasion of the exhibition at the Tokyo Metropolitan Art Museum in 1983.
Illustrated throughout in colour and black and white with examples of leading firgure in 1960s Japanese art scene, across themes and movements such as Gutai, Mono-ha, Pop, Fluxus, Dada, conceptual art and much more, including profiles on Tetsumi Kudo, Yukihisa Isobe, Ushio Shinohara, Shusaku Arakawa, Takami Sakurai, Yoshio Murakami, Hisashi Indo, Tomio Miki, Nobuaki Kojima, Jiro Takamatsu, Genpei Akasegawa, Natsuyuki Nakanishi, Koichi Tateishi, Hiroshi Nakamura, Koichi Tanikawa, Kei Hiraga, Ay-o, Tadanori Yokoo, Tasuo Ikeda, Tetsuro Komai, Hideo Hagiwara, Fumiaki Fukita, Yukio Fukazawa, Arinori Ichihara, Masuo Ikeda, Mitsuo Kano, Hideo Yoshihara, Tetsuya Noda, Bushiro Mouri, Saburo Muraoka, Shu Eguchi, Hisayuki Mogami, Ryokichi Mukai, Yoshikuni Iida, Bukichi Inoue, Isamu Wakabayashi, Masakazu Horiuchi, Kakuzo Tatehata, Haruhiko Yasuda, Moio Shinoda, Katsuhiro Yamaguchi, Masunobu Yoshimura, Tatsuo Kawaguchi, Minami Tada, Aiko Miyawaki, Nobuo Sekine, Takeo Yamaguchi, Masanari Murai, Toshinobu Onosato, Yoshishige Saito, Minoru Kawabata, Kumi Sugai, Yayoi Kusama, On Kawara, Keiji Usami, Takahiko Iimura.
Texts in Japanese.
1975, Japanese
Softcover, 96 pages, 23 x 25 cm
1st edition, Out of print title / used*,
Published by
? / Japan
$75.00 - Out of stock
Great Jean Cocteau catalogue, published in Japan in 1975 on the occasion of a major exhibition of his work.
Rarely seen and very curious Cocteau catalogue, features a wonderful selection of large colour and black and white reproductions of his drawings, paintings, ceramics, and sculptures, along with photographic portraits, texts, biography and bibliography. Texts in Japanese.
First edition.
"Jean Maurice Eugène Clément Cocteau (French, 5 July 1889 – 11 October 1963) was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants Terribles (1929), and the films The Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946) and Orpheus (1949). His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Gertrude Stein, Jean Hugo, Jean Marais, Henri Bernstein, Yul Brynner, Marlene Dietrich, Coco Chanel, Erik Satie, Albert Gleizes, Igor Stravinsky, Marie Laurencin, María Félix, Édith Piaf, Panama Al Brown, Colette, Jean Genet, and Raymond Radiguet."
1963, Swedish
Softcover, 76 pages, 16.5 x 24 cm
1st Edition, Out of print title / used / average
Published by
Moderna Museet / Stockholm
$55.00 - Out of stock
Önskemuseet: The Museum of Our Wishes (December 26, 1963 - February 16, 1964), was a unique and very ambitious exhibition initiated by director Pontus Hultén and Moderna Museet staff that gathered together a collection of modernist art from private owners, in order to present to the public and political administration their vision of what a museum collection could actually be. The exhibition featured works from private collections alongside a “wish list” of works that were still available on the market, calling for the government to allocate funds for purchasing new works for the museum. The request was acknowledged and the Museum received a one-off allocation of five million kronor, a substantial amount in today’s currency, which enabled the purchase of several works that now constitute the core of the collection, positioning Moderna Museet as one of the most dynamic and committed contemporary art institutions of the 1960s.
This is a copy of the first and only edition of the catalogue for the exhibition, which makes up a visual checklist of the artworks and artists featured in this enormous exhibit, taking it's form from art history guides that had started to be created after the war.
Includes introduction by Gerard Boniier as well as additional text by Olle Granath, K.G. Hulten, Ulf Linde and Karin Bergqvist Lindegren. Features works by Henri Matisse, Georges Rouault, Raoul Dufy, Emil Nolde, Edwin Ludwig Kirchner, Erich Heckel, Oscar Kokoschka, Max Beckmann, Chaim Soutine, Wassily Kandinsky, Kasimir Malevich, Pablo Picasso, Georges Braque, Jacques Villon, Raymond Duchamp-Villon, Henri Le Fauconnier, Fernand Léger, Robert Delaunay, Roger de la Fresnaye, Henri Laurens, Amédée Ozenfant, Juan Gris, Alexander Archipenko, Jacques Lipchitz, Giacomo Balla, Ardengo Soffici, Carlo Carrà, Umberto Boccioni, Gino Severini, Francis Picabia, Jean Arp, Marcel Duchamp, Man Ray, Kurt Schwitters, Piet Mondrian, El Lissitzky, Theo van Doesburg, Antoine Pevsner, Georges Vantongerloo, Sophie Tauber-Arp, Naum Gabo, Lazlo Moholy-Nagy, Alexander Calder, Charles Despiau, Andre Derain, Maurice Utrillo, Amedeo Modigliani, Otto Dix, Ben Shahn, Marie Laurencin, Constantin Brancusi, Julio Gonzales, Paul Klee, Giorgio de Chirico, Marc Chagall, Max Ernst, Juan Miró, Andre Masson, René Magritte, Yves Tanguy, Alberto Giacometti, Wilfredo Lam, Victor Brauner, Salvador Dali, Sebastian Matta, Henry Moore, Roger Bissière, Jean Bazaine, Maurice Esteve, Alfred Manessier, Nicolas De Staël, Auguste Herbin, Serge Poliafkoff, Victor Pasmore, Barnett Newman, Richard Mortensen, Jean Fautrier, Lucio Fontana, Henri Michaux, Jean Dubuffet, Germaine Richier, Francis Bacon, Wols, Asger Jorn, Alberto Burri, Antonio Tapies, Karel Appel, Mark Tobey, Fritz Hundertwasser, Mark Rothko, Archile Gorky, Willem de Kooning, Jackson Pollock, Jean-Paul Riopelle, Sam Francis, Robert Jacobsen, Robert Rauschenberg, Enrico Baj, César, Jasper Johns, Richard Stankiewicz, Jean Tinguely, Arman, and Yves Klein.
All texts in Swedish. The bulk of the reproductions are in black-and-white with several larger, tipped-in images in color.
Ex-library copy with stamps, stickers and covering. Otherwise a good copy.
1995, German
Softcover, 200 pages, 28 x 23 cm
Ed. of 1000,
1st Edition, Out of print title / used / very good
Published by
Witte de With / Rotterdam
Neue Nationalgalerie / Berlin
$90.00 - Out of stock
The rare first major monographic catalogue on Paul Thek, published in conjunction with a major retrospective exhibition staged at Witte de With, Center for Contemporary Art, Rotterdam, June 3 - October 8, 1995. The exhibition went on to Berlin, Barcelona, Zürich, Marseille, accompanied by this important book on the history of one of America's great artists.
Lavishly illustrated throughout with Thek's notebooks, sculptures, installations, paintings, drawings, photographs, writings, and much more, accompanied by important historical texts by Ann Wilson, Anke Bangma, Harald Szeemann, Richard Flood, Marietta Franke, Holland Cotter, Roland Groenenboom, and Rebecca Quaytman. Includes a selected bibliography.
Printed in an edition of 1000.
2005, Japanese
Softcover, 170 pages, 22 x 30.5 cm
Revised Ed.,
Published by
Suiseisha / Tokyo
$70.00 - Out of stock
This book documents the Dada movement in Japan from 1920s to 1970s through a collection of photos, artists' statements and recollections. It is a revised 2005 edition of a book first published in Japan in 1988 (following on from a publication 'Dada in Japan: Japanische Avantgarde, 1920-1970: Eine Fotodokumentation' from a large exhibition held at Kunstmuseum Duesseldorf in Germany in 1983). It covers the rarely seen photographic documentation of the avant-garde movements of Mavo, Gutai and more, featuring imagery and ephemera from installations, happenings, theatre performances, rallies, and protests including the work of artists Genpei Akasegawa, Atsuko Tanaka, Kazuo Shiraga, Nakanishi Natsuyuki, Shozo Shimamoto, Tomoyoshi Murayama, Yoshimura Masanobu, Tetsumi Kudo, and many others.
1988, Japanese
Hardcover (w/ pulped dust jacket), 163 pages, 22 x 30.5 cm
1st Edition, Out of print title / Used*,
Published by
Hatsubaimoto Hakuba Shobo / Japan
$110.00 - Out of stock
This first edition hard-cover book (in fine pulped, recycled paper dust jacket) documents the Dada movement in Japan from 1920s to 1970s through a collection of photos, artists' statements and recollections, published in Japan in 1988 (following on from a publication 'Dada in Japan: Japanische Avantgarde, 1920-1970: Eine Fotodokumentation' from a large exhibition held at Kunstmuseum Duesseldorf in Germany in 1983). It covers the rarely seen photographic documentation of the avant-garde movements of Mavo, Gutai and more, featuring imagery and ephemera from installations, happenings, theatre performances, rallies, and protests including the work of artists Genpei Akasegawa, Atsuko Tanaka, Kazuo Shiraga, Nakanishi Natsuyuki, Shozo Shimamoto, Tomoyoshi Murayama, Yoshimura Masanobu, Tetsumi Kudo, and many others.
*Condition: Very good-Fine – All care is taken to provide accurate condition details of used books, photos available on request.
1998, German
Hardcover, 366 pages, 22.5 x 31 cm
1st German edition, Out of print title / used / very good,
Published by
Hatje Cantz / Berlin
$70.00 - Out of stock
The long out-of-print heavyweight "Out of Actions" book (First German hardcover edition) that was published to accompany the spectacular 1998 Paul Schimmel-curated travelling exhibition. "Out of Actions" surveyed the broad international history and influence of post-war Performance Art, and the objects that exist today as its documentation. It features significant texts by Schimmel, Kristine Stiles, Guy Brett, Hubert Klocker, Shinichiro Osaki, Leslie King-Hammond and Lowery Stokes Sims, and Keiko Okamura.
This important and heavily researched document is lavishly illustrated throughout in colour and black and white, capturing the work and actions of the artists featured in the exhibition and essays: Marina Abramovic, Marina Abramovic and Ulay, Vito Acconci, Genpei Akasegawa, Laurie Anderson, Eleanor Antin, Rasheed Arseen, Mowry Baden, Artur Barrio, Joseph Beuys, Mark Boyle and Joan Hills, George Brecht, Stuart Brisley, Robert Delford Brown, Gunter Brus, Chris Burden, James Lee Byars, John Cage, Marc Camille Chaimowicz, Lygia Clark, Pinchas Cohen Gan, Collective Action Group, Houston Conwill, Paul Cotton, COUM Transmissions, Guy de Cointet, Jim Dine, John Duncan, Felipe Ehrenberg, Roberto Evangelista, Valie Export, Robert Filliou, Rose Finn-Kelcey, Sherman Fleming, Lucio Fontana, Terry Fox, Howard Fried, Gideon Gechtman, Gilbert & George, Alberto Greco, Ion Grigorescu, Victor Grippo, Red Grooms, Guerrilla Art Action Group, David Hammons, Al Hansen, Maren Hassinger, Lynn Hershman, Dick Higgins, Tatsumi Hijikata, Susan Hiller, Rebecca Horn, Tehching Hsieh, Joan Jonas, Kim Jones, Michel Journiac, Akira Kanayama, Tadeusz Kantor, Allan Kaprow, Mike Kelley, Juergen Klauke, Yves Klein, Milan Knizak, Alison Knowles, Komar & Melamid, Jannis Kounellis, Shigeko Kubota, Tetsumi Kudo, Yayoi Kusama, Leslie Labowitz, Suzanne Lacy, John Latham, Jean-Jacques Lebel, Lea Lublin, George Maciunas, Leopoldo Maier, Piero Manzoni, Tom Marioni, Georges Mathieu, Gordon Matta-Clark, Paul McCarthy, Bruce McLean, David Medalla, Cildo Meireles, Ana Mendieta, Gustav Metzger, Marta Minujin, Jan Micoch, Linda Montano, Robert Morris, Otto Muehl, Saburo Murakami, Natsuyuki Nakanishi, Bruce Nauman, Paul Neagu, Senga Nengudi, Joshua Neustein, Hermann Nitsch, Helio Oiticica, Claes Oldenburg, Yoko Ono, Orlan, Raphael Montanez Ortiz, Lorenzo Pace, Nam June Paik, Gina Pane, Lygia Pape, Giuseppe Pinot Gallizio, Adrian Piper, Michelangelo Pistoletto, Jackson Pollock, William Pope L., Robert Rauschenberg, Carlyle Reedy, Klaus Rinke, Ulrike Rosenbach, Dieter Roth, Zorka Saglova, Niki de Saint Phalle, Alfons Schilling, Tomas Schmit, Carolee Schneemann, Rudolf Schwarzkogler, Bonnie Sherk, Shozo Shimamoto, Ushio Shinohara, Kazuo Shiraga, Barbara T. Smith, Daniel Spoerri, Petr Stembera, Wolfgang Stoerchle, Jiro Takamatsu, Atsuko Tanaka, Mark Thompson, Jean Tinguely, Rasa Todosijevic, Kerry Trengove, Ulay, Ben Vautier, Wolf Vostell, Franz Erhard Walther, Peter Weibel, Franz West, Hannah Wilke, Emmett Williams, and Zaj.
Scarce first German edition, published by Hatje Cantz.