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.
2024, English
Hardcover (w. dust jacket), 176 pages, 31 x 24.1 cm
Published by
Skira / Milan
$95.00 - In stock -
Published on occasion of the exhibition Kay Sage and Yves Tanguy: Ring of Iron, Ring of Wool curated by Dr Victoria-Noel-Johnson, Marzina Marzetti (Director of the Helly Nahmad Gallery) in collaboration with Derek Des Islets and Matthew Foster, Helly Nahmad Gallery, New York, this hardcover catalogue explores the work of Kay Sage (American, 1898—1963) and Yves Tanguy (French-American, 1900—1955), two eminent Surrealist artists who married in 1940. Particular attention will be given to Sage's fascinating life and extraordinary work, which has long been obscured by her relationship with the better-known Tanguy, a key figure of French Surrealism. As such, the publication will analyse the various stages of Sage's life and career in Italy and Paris before returning to New York in 1939, parallel to Tanguy's own exceptional work of the late 1920s—early 1950s, with the aim of highlighting how their personal and professional trajectories affected their respective work and careers thereafter. Sage's dedication to promoting and safeguarding Tanguy's legacy following his premature death in 1955 will also be explored.
1979, Spanish
Hardcover (w. dust jacket), 143 pages, 21 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Ediciones Polígrafa / Barcelona
$65.00 - Out of stock
Jorge Camacho is born in 1934 in Havana (Cuba). In 1952, he abandons his law studies and begins painting, driven by an inner strength that still remains for him mysterious. In Mexico, in 1959, he meets the painter Jose Luis Cuevas, with whom he begins a long journey to the sources of pre-Columbian cultures (Teotihuacan, Olmec, Maya, Aztec) that defines a new direction in his painting. Camacho moves to Paris in 1959, where he finds his friend the sculptor Augustin Cardenas. His first solo...
1981, English
Die cut folded exhibition card, 18 x 14.7 cm
1st Edition, Out of print title / used / fine
Published by
Nigel Greenwood Inc. / London
$90.00 - In stock -
Rare die-cut folded exhibition card produced by Marc Camille Chaimowicz on the occasion of the exhibition Macquettes… at Nigel Greenwood Inc, London, 10 December, 1981—30 January, 1982.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present.
Fine copy.
1981, English
Fold-out booklet, 20.4 x 22.6 cm (folded), 72 x 22.6 cm (unfolded)
1st Edition, Out of print title / used / fine
Published by
The Tate Gallery / London
$50.00 - In stock -
Rare 1981 fold-out booklet published to accompany Marc Camille Chaimowicz's performance of Partial Eclipse… at the Tate Gallery, London in September, 1981.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present.
Fine copy.
1983, English / French
Softcover (w. 2 fabric swatches tipped in), 21 x 26 cm
1st Edition, Out of print title / used / good
Published by
Comportement Environnement Performance / Lyon
$240.00 - In stock -
Rare artist's book and catalogue designed by Marc Camille Chaimowicz, 12 Décors Textiles, published in limited edition in 1983. Lavishly illustrated throughout in colour and b/w, reproducing the designs of 12 textile patterns created by the artist, including two hand-printed fabric sample swatches tipped in. Accompanied by text by Hubert Besacier in English and French.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present.
Good copy, with general wear/age to edges/spine, moisture stain to bottom corner, at worst on front board, with associated page rippling. Some markings to covers.
1973, English
Softcover, 96 pages, 18.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Art Gallery of New South Wales / Sydney
$35.00 - Out of stock
Catalogue published on the occasion of the major exhibition "Recent Australian Art" held at Art Gallery of New South Wales, Sydney, 18 October-18 November 1973, featuring new work (created between 1970-1973) by close to 50 Australian artists, including many of 'The Field' artists. Each exhibited artist is profiled with a photographic portrait, potted history and blck and white reproductions of their work. Includes a foreword by Peter Laverty, Director, Art Gallery of New South Wales, and introduction by Frances McCarthy and Daniel Thomas.
Artists: Robert Hunter, Mel Ramsden, Ian Burn, Dick Watkins, Robert Rooney, Aleks Danko, Ewa Pachuka, Ti Parks, John Firth-Smith, Robert Jacks, Tim Johnson, Robert Hunter, Victor K, Donald Laycock, Mike Parr, Peter Kennedy, Paul Partos, Nigel Lendon, Rollin Schlicht, Alberr Shomaly, Guy Frank Stuart, William Anderson, David Aspden, Jonas Balsaitis, Peter Booth, Robert Boynes, Mike Brown, Tim Burns, Gunter Christmann, William Delafield Cook, John Davis, Bill Clements, Tony Coleing, Ross Grounds, Dale Hickey, Ian Howard, Noel Hutchison, Tony Kirkman, Richard Larter, Donald Laycock, Tony McGillick, Alan Oldfield, John Peart, Peter Powditch, Ron Robert-Swann, Rollin Schlicht, Alberr Shomaly, Guy Stuart, Michael Taylor, Imants Tillers, Tony Tuckson.
Very Good copy, light cover wear and tanning.
1988, French
14 illustrated prints in illustrated cardboard folio, 30 loose leaf pages, 21.5 x 26.5 cm
Ed. of 150,
1st Edition, Out of print title / used / very good
Published by
Pour l’Art Contemporain / Bourbon-Lancy
$800.00 - In stock -
Exquisite and extremely rare artist's portfolio, Chemin de Croix (Stations of the Cross), 14 drawings made by Marc Camille Chaimowicz at the Leighton Artists Colony, Parish of St Mary’s, Banff, during Easter 1988. Published in an edition of 150 copies and printed in full colour on warm, heavy paper stock, housed in illustrated cardboard folio, printed in Dijon on the presses of l'imprimerie Dips on behalf of the artist and Le Coin du Miroir, Dijon A Priori, Lyon Pour l'art contemporain, Bourbon Lancy. The 14 drawing series was created to be exhibited in the church of Lesme in Saône-et-Loire at the request of the association Pour l’Art Contemporain, Bourbon-Lancy, from July 1988—July 1989.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present.
Very Good copy, with light age and corner/edge wear. Prints beautifully preserved within. Small chipping/closed tear to soft folio corners.
2007, English
Hardcover (pressed cloth w. plastic sleeve), 218 pages, 21 x 26.5 cm
1st Edition, Out of print title / used / fine
Published by
JRP Ringier / Zürich
Migros Museum für Gegenwartskunst / Zürich
$1000.00 - Out of stock
One of the great artist books of our time, Marc Camille Chaimowicz's The World of Interiors disappeared from existence immediately after its publication, becoming a book of legend.
Awarded "The Most Beautiful Swiss Book" in 2007, The World of Interiors was conceived and realized by Chaimowicz (b. post-war Paris) on the occasion of his solo exhibition at the Migros Museum für Gegenwartskunst, Zurich. In the guise of a perfectly reproduced copy of an issue of the famous World Of Interiors magazine, the artist conceived this publication as a reference monograph and a source catalogue, ranging from his first post-Pop scatter installations to works realized in the 1990s. Looking back over nearly 30 years of work, this issue of World Of Interiors is beautifully détourned by Chaimowicz through inserting and collaging his own work (drawings, designs, paintings, photographs of installations, sculptures, his own domestic interiors, furniture, objects), personal writings, clippings from other magazines, references to Cocteau, Proust, Flaubert, Grey, Genet, Giacometti, and texts by contributing writers throughout its glossy pages. Legend has it (and we have this from the best sources) that the publishers received a 'cease and desist' letter from World Of Interiors' publisher Conde Nast immediately after its release and the majority of the print-run was destroyed, making this a very scarce and sought after book. The perfect follow-up Chaimowicz book to his gorgeous "Café du Reve" from 1985.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present. His works are in the Museum of Modern Art, Tate Modern, and Victoria and Albert Museum collections.
A fine example of a very collectable and special book, wrapped in original rose cloth hardcover, protected under mylar wrap..
2010, English / German / French
Folio of five looseleaf pattern sheets, a letter in facsimile, and catalogue, colour offset printed, 21.5 x 27 cm
1st Edition, Out of print title / as new
Published by
Secession / Vienna
Walther König / Köln
$160.00 - In stock -
Out-of-print and collectible artist’s portfolio by Marc Camille Chaimowicz with five pattern sheets, a letter from Chaimowicz in facsimile, and an illustrated catalogue with essay by Silvia Eiblmayr (German/English and French/English). Produced by the Secession in a limited edition and published in cooperation with Musée La Piscine, Roubaix.
Born in 1947, Paris, Marc Camille Chaimowicz is a London-based artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between fine and applied arts, masculine and feminine, public and private, past and present.
Like New copy.
2022, English
Flexcover (clothbound), 248 pages, 21 x 26 cm
Published by
Les Presses Du Reel / Paris
$72.00 - In stock -
Produced on the occasion of the exhibition Marc Camille Chaimowicz – Zig Zag and Many Ribbons… at MAMC Saint-Etienne in 2022—2023, this reference monograph revisits the conceptual and sensorial developments pursued by the artist since the 1970s.
Includes a ribbon drawn by the artist as an inserted bookmark. Edited by Marc Camille Chaimowicz and Anna Clifford. Text by Marie Canet. Designed by Zak Kyes.
Born in the aftermath of World War II (in 1947 in Paris) of a Polish father and a French mother, Marc Camille Chaimowicz moved as a child to the United Kingdom. He studied at Ealing, Camberwell, and the Slate School of Art in London. In new artistic times, careful to bring art and life closer, often using performance, the life of Marc Camille Chaimowicz has become a great workshop. Living in the exhibition spaces, he sets up hotels entrances, decorates them with his own artefacts, and serves there some tea to visitors with musical background. When it became an official art practice which was no longer subversive, Chaimowicz abandoned performance art. From 1975 to 1979, he designed the interior of his Approach Road flat. Wallpapers, curtains, videos he made while performing in his own decor: everything had been tailored-imagined, drawn, and conceived to turn his interior into a room conducive to reverie. From the 1980s onwards, decors and furniture set like in a theatre scenography took their place in museums. Since then, hundreds of exhibitions have featured the interiors series of this international artist.
Marie Canet is a French art critic, independent curator and professor of aesthetics at the Villa Arson (Nice).
1970, German
Softcover (staple-bound), 12 pages, 21 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Editions Bischoffberger / Zürich
$35.00 - Out of stock
1970 catalogue published on the occasion of the exhibition of Swiss artist Willy Müller-Brittnau (1938—2003) at the Galerie d'art Moderne, Basel; Editions Bischoffberger, Zürich; Galerie Riehentor, Basel, exhibiting the striking hard-edge/colour field works of Müller-Brittnau spanning 1964—1970, boldly illustrated throughout in full-colour. Like many Swiss artists of the period, Willy Müller-Brittnau started out as a graphic designer. First influenced by American action painting in 1958, he went on to develop a geometric pictorial language and made outstanding contributions to colour field painting and signal art in the 1960s and 1970s. In addition to painting, drawing and prints, he created numerous site-specific, sculptural works and developed colour schemes for buildings. Includes portraits of the artist and biography.
Good—Very Good copy with light pinching to spine/light cover/corner wear.
1958, Dutch
Softcover (staple-bound), 26 pages, 26 x 19 cm
1st Edition, Out of print title / used / good
Published by
Stedelijk Museum / Amsterdam
$25.00 - In stock -
Rare early Jackson Pollock catalogue published by Stedelijk Museum Amsterdam (SM Catalogue nr 189) in 1958, designed by the legendary Willem Sandberg. Profusely illustrated in b/w with Pollock's artworks, including a colour centrefold, printed across various paper stocks, accompanied by biography, exhibition history, catalogue and text by Sam Hunter (translated into Dutch).
Very Good copy but ex-National Gallery of Victoria library copy, therefore two stamps to cover, plus staple holes to top right of cover, otherwise VG throughout.
1983 + 1985, English / Japanese
Softcover (staple-bound), 18 + 28 pages (w. fold-out), 25 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Gatodo Gallery / Japan
$150.00 - Out of stock
Very rare set of two handsome Japanese catalogues on the work of American artist John McLaughlin, published in 1983 and 1985. The first volume is "John McLaughlin: Paintings 1951-1966", documenting an exhibition at Gatodo Gallery in Japan in 1983. It includes texts by the artist, portrait, biography, bibliography, a checklist of works exhibited, and 8 superb tipped-in colour plates. The second is "John McLaughlin : Late Work", documenting an exhibition at Gatodo Gallery in Japan in 1985. It includes texts by the artist, portrait, biography, bibliography, a checklist of works exhibited, and 5 superb tipped-in colour plates, including fold-out panel and exhibition view. Text in both Japanese and English.
John Dwyer McLaughlin (1898 – 1976) was a highly pivotal and significant American abstract painter. Based primarily in California, he was a pioneer in minimalism and hard-edge painting.
Good—Very Good condition, both volumes clean and very good throughout internally, only with small sticker peel to cover of vol. I, and some small markings to covers of vol. II.
2024, English
Softcover, 128 pages, 20.5 x 14 cm
Published by
Nightboat Books / New York
$38.00 - Out of stock
A lively and spontaneous interview with Etel Adnan about her absolute belief in the beauty of the world and the beauty of art.
In these interviews with journalist and editor Laure Adler, conducted in the months before her death in November 2021, Etel Adnan traces with depth and emotion the founding experiences of her artistic approach, between poetry and painting. From her youth in Lebanon, her American years in New York and California, to her late recognition at Documenta in 2012 and her life in France, the conversation covers philosophy, painting, poetry and aesthetics, as well Adnan's views on history and politics in Europe, the Middle East, and the United States. These transcripts usher the experiences and observations of Adnan's long and rich life into an intimate and spontaneous conversation with a dear friend―a window on the “universe” of her imagination.
1977, German
Softcover, 128 pages, 33 x 24 cm
Out of print title / used / good
Published by
Belser Verlag / Stuttgart
$68.00 - Out of stock
Softcover edition of this wonderful over-sized publication on the unique collaboration between German artist Paul Wunderlich and photographer Karin Székessy, one of Germany's most important female photographers, who were married to each other. Published in Switzerland in 1977, this volumes collects an abundance of these iconic 'transpositions,' evocative, experimental nude photographs by Szekessy juxtaposed with Wunderlich's versions, or replies, in the form of paintings and prints. Profusely illustrated throughout in colour and b/w, the result is a fascinating dialogue of unconventional nude form. German literary critic Fritz J. Raddatz's illustrated introduction gives contextual and art historical references and background, accompanied by a full listing of works and exhibition history.
Good—VG copy with only light cover/edge wear.
2017, English
Softcover, 124 pages, 24 x 16.5 cm
Published by
Dancing Foxes Press / Brooklyn
Queens Museum / Queens
$50.00 $30.00 - In stock -
Integrating video, photography, sculpture, writing, and performance into one expansive body of work, Los Angeles–based artist Patty Chang examines the complex way stories develop through geography, history, cultural mythology, fiction, and personal experience. Accompanying her project A Wandering Lake that was in part inspired by turn-of-the-century colonial explorer Sven Hedin’s book Wandering Lake (1938)—which tells the story of a migrating body of water in the Chinese desert—this artist’s book, combining Chang’s writings and travel photographs with historic and theoretical text excerpts as well as photographs of her sculptures and watercolors, is a personal, associative, narrative meditation on mourning, caregiving, and landscape.
Copublished with the Queens Museum in 2017
Edited by Karen Kelly and Barbara Schroeder
With an afterword by Hitomi Iwasaki
Design by Leftloft
This is a guide to mourning; but Chang widens the scope to include political conflict and environmental degradation, and argues that, despite the losses we’ve incurred, we are still collaborators in the making of our worlds.”—Erin Schwartz, The New York Review of Books
2023, English / French
Softcover, 190 pages, 25.5 x 21 cm
Published by
Lafayette Anticipations / Paris
$70.00 - Out of stock
Lafayette Anticipations presents Study for No, Issy Wood's first solo exhibition in France, featuring over 60 paintings by the English artist, most of which have never been shown before.
The body of work presented in the catalogue speaks of a refusal to accept a certain order, and expresses unease at the systems of oppression, both conscious and unconscious, that govern human beings, especially the most vulnerable. The exhibition catalogue includes an essay by art critic Barry Schwabsky, a portrait of the artist by Kaitlin Phillips, and an interview between Rebecca Lamarche-Vadel and Issy Wood.
Bilingual French / English
2023, English
Softcover, 189 pages, 28 x 20.5 cm
Ed. of 700,
Published by
The Manhattan Art Journal / New York
$55.00 - Out of stock
The long-awaited premiere issue of The Manhattan Art Journal, the printed edition of The Manhattan Art Review. Edited by Sean Tatol and designed by Becca Abbe, Vol. 1, Issue 1 features writings, letters, interviews, reviews, The Melbourne Art Review, comics, and literary quotes, with contributions by Jessica Almereyda, Anthony Atlas, Brian Block, Chris Camperchioli, Noah Dillon, Marguerite Duras, Michael Eby, Andy Giannakakis, Laszlo Horvath, Ella Howells, Cameron Hurst, Domenic Hutchins, Carmen-Sibha Keiso, Bill Kemmler, Eydís Klej, Adam Lehrer, Mathieu Malouf, Marc Matchak, Lucas Matheson, Christian Oldham Tannon Reckling, Libby Rothfeld, Jake S., Audrey Schmidt, Sophy Schulman, Mitzi Sfarzada, Myles Starr, Sean Tatol, Dylan Taylor, Luka Usmiani, Adrian Wilson, and Jarrod Zlatic, interviews by Ryan Cullen, Famous Art Guy, Carmen-Sibha Keiso, and Ross Simonini, and comics by Andrew Newell Walther.
Edition of 700 copies.
2015, English
Hardcover (w. dust jacket), 592 pages, 24 x 18.5 cm
Published by
The MIT Press / Massachusetts
$89.00 - Out of stock
Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art.
These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred.
Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour à l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories.
Contents
Formalism and Historicity (1977) • Marcel Broodthaers: Allegories of the Avant-Garde (1980) • Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981) • Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982) • The Museum Fictions of Marcel Broodthaers (1983) • From Faktura to Factography (1984) • Readymade, Objet Trouvé, Idée Reçue (1985) • The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986) • Cold War Constructivism (1986) • Conceptual Art 1962–1969: From the Aesthetics of Administration to the Critique of Institutions (1989) • Residual Resemblance: Three Notes on the Ends of Portraiture (1994) • Sculpture: Publicity and the Poverty of Experience (1996)
2007, English
Softcover, 80 pages, 27 x 21.5 cm
Published by
Litmus Press / Brooklyn
$49.00 - Out of stock
Reprinted with a new foreword by Jalal Toufic and artwork by Etel Adnan.
Translated from the French by the author. “From time to time, there occurs what suspends time, revelation—at least for certain people, martyrs. But then the apocalypse, revelation, is withdrawn, occulted by the ‘apocalypse,’ the surpassing disaster, so that symptomatically apocalypse’s primary sense (from Greek apokalypsis, from apokalyptein to uncover, from apo- + kalyptein to cover) is occulted by its secondary meaning, and martyr’s primary sense, witness, is occulted by its secondary, vulgar meaning: ‘a person who suffers greatly or is killed because of their politcal or religious beliefs’… While the Arab ‘apocalypse’ as surpassing disaster leads to a withdrawal of Arabic tradition, the apocalypse as revelation leads to Arabic tradition’s vertiginous extension.”—from the Foreword by Jalal Toufic
Etel Adnan was born in Beirut, Lebanon in 1925. She is a celebrated writer, essayist, and playwright, and is the author of more than twenty books in all these disciplines. Her work as a whole is a faithful record of the times and places she has lived in Beirut, Paris, and in the San Francisco Bay Area. At least eighteen works by Adnan have been published in English. They include Sitt Marie Rose (Post-Apollo Press, 1982); The Arab Apocalypse (Post-Apollo Press, 1989); Sea and Fog (Nightboat Books, 2012), winner of the Lambda Literary Award for Lesbian Poetry and the California Book Award for Poetry; Premonition (Kelsey Street Press, 2014); Surge (Nightboat Books, 2018); Time (Nightboat Books, 2019), winner of the Griffin Poetry Prize and the Best Translated Book Award; and most recently Shifting the Silence (Nightboat Books, 2020). Her paintings, described by New York Times art critic Roberta Smith as “stubbornly radiant abstractions,” have been widely exhibited. Spanning media and genres, Adnan’s writings have led to numerous collaborations with artists and musicians, including the French part of CIVIL warS, a multi-language opera by American stage director Robert Wilson, performed in Lyon and Bobigny in 1985.
In 2014 she was named Chevalier des Arts et des Lettres, France’s highest cultural honor, by the French Government. She died in Paris, in 2021.
1982 / 2022, English
Softcover, 106 pages, 18 x 14 cm
$45.00 - Out of stock
"Love is a supreme violence...."—Sitt Marie Rose
Sitt Marie Rose is the story of a woman abducted by militiamen during the civil war in Lebanon. Already a classic of war literature, this extraordinary novel won the France-Pays Arabes award in Paris and has been translated into six languages.
Sitt Marie Rose is part of Comparative Literature, World Literature, Women’s Studies and Middle East Studies curricula at more than thirty universities and colleges in the U.S.
Etel Adnan was born in Beirut, Lebanon in 1925. She is a celebrated writer, essayist, and playwright, and is the author of more than twenty books in all these disciplines. Her work as a whole is a faithful record of the times and places she has lived in Beirut, Paris, and in the San Francisco Bay Area. At least eighteen works by Adnan have been published in English. They include Sitt Marie Rose (Post-Apollo Press, 1982); The Arab Apocalypse (Post-Apollo Press, 1989); Sea and Fog (Nightboat Books, 2012), winner of the Lambda Literary Award for Lesbian Poetry and the California Book Award for Poetry; Premonition (Kelsey Street Press, 2014); Surge (Nightboat Books, 2018); Time (Nightboat Books, 2019), winner of the Griffin Poetry Prize and the Best Translated Book Award; and most recently Shifting the Silence (Nightboat Books, 2020). Her paintings, described by New York Times art critic Roberta Smith as “stubbornly radiant abstractions,” have been widely exhibited. Spanning media and genres, Adnan’s writings have led to numerous collaborations with artists and musicians, including the French part of CIVIL warS, a multi-language opera by American stage director Robert Wilson, performed in Lyon and Bobigny in 1985.
In 2014 she was named Chevalier des Arts et des Lettres, France’s highest cultural honor, by the French Government. She died in Paris, in 2021.
1995, English
Softcover, 104 pages, 23 x 15 cm
Published by
Litmus Press / Brooklyn
Post Apollo Press / US
$40.00 - In stock -
The poems come from Albuquerque, Beirut, Damascus, the Amazon Basin, the air over Hiroshima, the burial grounds both honored and dishonored all over the world. Counterposed to violence and destruction, these poems offer witness and harbor in love.
Illustrated with etchings by Russell Chatham.
Etel Adnan was born in Beirut, Lebanon in 1925. She is a celebrated writer, essayist, and playwright, and is the author of more than twenty books in all these disciplines. Her work as a whole is a faithful record of the times and places she has lived in Beirut, Paris, and in the San Francisco Bay Area. At least eighteen works by Adnan have been published in English. They include Sitt Marie Rose (Post-Apollo Press, 1982); The Arab Apocalypse (Post-Apollo Press, 1989); Sea and Fog (Nightboat Books, 2012), winner of the Lambda Literary Award for Lesbian Poetry and the California Book Award for Poetry; Premonition (Kelsey Street Press, 2014); Surge (Nightboat Books, 2018); Time (Nightboat Books, 2019), winner of the Griffin Poetry Prize and the Best Translated Book Award; and most recently Shifting the Silence (Nightboat Books, 2020). Her paintings, described by New York Times art critic Roberta Smith as “stubbornly radiant abstractions,” have been widely exhibited. Spanning media and genres, Adnan’s writings have led to numerous collaborations with artists and musicians, including the French part of CIVIL warS, a multi-language opera by American stage director Robert Wilson, performed in Lyon and Bobigny in 1985.
In 2014 she was named Chevalier des Arts et des Lettres, France’s highest cultural honor, by the French Government. She died in Paris, in 2021.
2002, English
Softcover, 312 pages, 23.5 x 15.6 cm
Published by
Duke University Press / North Carolina
$49.00 - In stock -
Richard Bruce Nugent (1906—1987) was a writer, painter, illustrator, and popular bohemian personality who lived at the centre of the Harlem Renaissance. Protege of Alain Locke, roommate of Wallace Thurman, and friend of Langston Hughes and Zora Neale Hurston, the precocious Nugent stood for many years as the only African-American writer willing to clearly pronounce his homosexuality in print. Selections from his writings, paintings, and erotic art-deco drawings-mostly unpublished or scattered in rare and obscure publications-are collected here for the first time. A contributor to the landmark publication FIRE!! and resident of the notorious Niggeratti Manor, Nugent drew heavily upon his own experiences in his art. Nugent also appeared on Broadway in Porgy (the 1927 play) and Run, Little Chillun (1933).
Thomas H. Wirth, a close friend of Nugent's during the last years of the artist's life, has assembled a selection of Nugent's writings, including his best-known piece, "Smoke, Lilies, and Jade," and some of his poems and short non-fiction. The visual art selections include many of Nugent's sketches, as well as a number of his paintings. Wirth has written an introduction providing biographical information about Nugent's life and situating his art in relation to the visual and literary currents that influenced him. A foreword by Henry Louis Gates Jr. emphasises the importance of Nugent for African American history and culture. Outliving virtually all other Harlem Renaissance figures, Nugent became a valuable resource to historians during his later years and is quoted in many works about the Harlem Renaissance era. This book offers a trove of hitherto unavailable primary source material and original art.
"The list of gay and lesbian African Americans is impressive and long, but it is surely headed by Bruce Nugent...[Wirth] does us an immeasurable favor by bringing together this collection of Nugent's poems, stories, essays, and visual art, along with a biographical sketch and a thoughtful interpretation. One of the key figures in both the creative world of the Harlem Renaissance and the complex underground world of gay culture, Bruce Nugent at last speaks here for himself."-from the Foreword, by Henry Louis Gates Jr. "Nugent is one of the best-known unknowns of the Harlem Renaissance - widely quoted by its chroniclers and revered by people interested in black gay history. By restoring his place in history and making his work widely available for scrutiny, this book performs an invaluable service. Wirth's introduction also provides an extraordinary tour of the gay side of the Renaissance and vivid glimpses of bohemian life in Harlem and the arts circles Nugent moved in." - George Chauncey, author of Gay New York: Gender, Urban Culture, and the Making of the Gay Male World
1978, German
Softcover (w. dust jacket), 220 pages, 20 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Schirmer & Mosel / Munich
Ludwig Museum / Cologne
Schirmer Mosel
$80.00 - In stock -
First 1978 edition of this gorgeous German book dedicated entirely to the magnificent photographic work of Wols. Lavishly illustrated throughout in b/w with a comprehensive collection of over 100 pages of his accomplished photography of still life object assemblages, portraits, the streets of Paris, interiors, and more, including an additional 120 pages of heavily illustrated in-depth biographical text on the artist, featuring many of his paintings, drawings, photographs and private photo-documents.
Wols was the pseudonym of Alfred Otto Wolfgang Schulze (27 May 1913, Berlin – 1 September 1951, Paris), a German painter, photographer, engraver, and graphic designer. Though broadly unrecognized in his lifetime, Wols was close to Surrealism, and is considered a pioneer of Lyrical Abstraction, one of the most influential artists of the Tachisme movement, and of Informal art in Europe. He moved to France when he fled the Hitlerian regime, with a recommendation from the artist-teacher Moholy-Nagy. Illegal immigrant, he was considered as a deserter and a stateless person, arrested many times by the French police. In 1936, Wols received, with Léger and Rivière's help, a limited resident permit, working as a photographer — his unusual fashion and interiors photographs were sold as postcards and printed in many international fashion magazines. Immediately after the beginning of the Second World War, Wols was enprisoned with many Germans in different French internment camps, where Wols realized many surrealist drawings and watercolours that he is now well-known for. He spent most of the war trying to emigrate to the United States, an unsuccessful and costly enterprise that may have driven him to alcoholism. After the hype from the war had died down, he had his first exhibition of watercolors in December 1945 at the Galerie René Drouin, Paris, where despite the lack of commercial success he made an impression. His paintings represented a rejection of figuration and abstraction, and a projection into a metaphysical plane. In the years following the war, Schulze concentrated on painting and etching. His health declined severely towards the end of the 1940s; in 1951 he died of food poisoning at the Hotel Montalembert in Paris, after releasing himself from hospital against medical advice. After his death his works were shown at the Kassel documenta (1955), documenta II (1959) and documenta III (1964).
Very Good with some cover wear/rubbing.