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:
Thu–Fri 12–6
Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
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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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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.
2026, English
Softcover, 240 pages, 19.5 x 13.9 cm
Published by
The Song Cave / New York
$58.00 - In stock -
Introduction by Peggy Phelan.
For many years, Collier Schorr has been creating a ballet inspired by Chantal Akerman’s film Je tu il elle. Following the film’s themes of transparency, sexuality, shame, and love, Schorr has directed a piece consisting of videotaped dances in which she includes herself as a character alongside her fellow dancers. “Akerman played herself in Je tu il elle,” she says, “because she knew no actress could be as awkward as she was. I feel the same.”
Incredibly intimate, risky, and questioning aspects of age, gender, and racial norms historically underrepresented in ballet, Schorr wanted “to tell another story, based on the ones that Chantal Akerman had told me, about power and desire and compulsion and essentially free speech in the male-dominated field...” In Writing a Letter: Akerman Ballet, Act 1, Schorr has pulled a large collection of film stills from the first act of this ballet. Published as a stand-alone document of one artist vigorously in conversation with another’s work, it is also an example of the way queer histories can be shared and cared for through adoration, adaptation, and repetition. A heady act of love, in itself.
2019, English
Hardcover, 256 pages, 19.2 x 24.6 cm
Published by
The MIT Press / Massachusetts
$100.00 - Out of stock
Antonin Artaud (1896–1948) - stage and film actor, director, writer, and visual artist - was a man of rage and genius. Expelled from the Surrealist movement for his refusal to renounce the theatre, he founded the Theater of Cruelty and wrote The Theater and Its Double, one of the key twentieth-century texts on the topic. Artaud spent nine years at the end of his life in asylums, undergoing electroshock treatments. Released to the care of his friends in 1946, he began to draw again. This book presents drawings and portraits from this late resurgence, in colour reproductions. Accompanying the images are texts by by Artaud's longtime friend and editor Paule Thévenin and the philosopher Jacques Derrida.
“We won't be describing any paintings,” Derrida warns the reader. Derrida struggles with Artaud's peculiar language, punctuating his text with agitated footnotes and asides (asking at one point, “How will they translate this?”). Thévenin offers a more straightforward biographical and historical account. (It was on the walls of her apartment that Derrida first saw Artaud's paintings and drawings.) These two texts were previously published by the MIT Press in The Secret Art of Antonin Artaud without the artwork that is their subject. This book brings together art and text for the first time in English.
Paule Thévenin (1918–1993) knew Antonin Artaud well and edited many his complete writings for the French publisher Éditions Gallimard.
Jacques Derrida (1930–2004), an enormously influential philosopher, theoretician, critic, and deconstructionist, is the author of Of Grammatology, The Post Card: From Socrates to Freud and Beyond, Aporias, and many other books.
2000, English
Softcover, 250 pages, 17.15 x 24.13 cm
1st Edition, Out of print title / used / very good
Published by
Granary Books / New York
$40.00 - In stock -
First edition of this out-of-print volume of Alison Knowles collage journal spanning 30 years.
Once upon a time [composer] Jim Tenney and I went walking in the woods. We came to a clearing and there under a tree was an arrangement of toy locomotives in the middle of nowhere. Pausing, we mused, where were they going, where had they been?
Attempting to write just such an imaginative history of her own life, and its comings and goings, New York artist Alison Knowles has compiled Footnotes—a collection of collage pages made from small, red travel books collected over 30 years, then pasted up and redrawn, in no definite or logical order. The settings of these collages range from Germany to Japan (but always coming back to New York), with a loosely woven context provided by jotted-down ideas and overheard conversations between her friends. These delicate pencil drawings convey a sense of time lost and regained, displacement and reorientation, of the scattered nature of our interior lives.
Alison Knowles (b. 1933) is an American visual artist and a founding member of the Fluxus movement, internationally known for her installations, performances, soundworks, and publications.
Very Good copy with light tanning to edges of book block.
1996, English
Softcover, 192 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Fantasma Books / US
$90.00 - In stock -
First edition of Spaghetti Nightmares, published in 1996, an invaluable reference book on the subject of Italian horror-fantasy films – often referred to as Giallo films. Compiled by horror aficionados Luca M. Palmerini and Gaetano Mistretta, the book consists of texts, mainly of interviews (translated into English) with major genre icons, filmography, illustrated throughout with stills and movie posters in colour and b/w. An outstanding and rare insight into the artists (directors, screenwriters, actresses, actors, special effects artists, make-up artists ...) and stories behind some of the greatest Italian films and collaborations of the 1970s and 1980s. Includes interviews with Fabrizio de Angelis, Claudio Argento, Dario Argento, Lamberto Bava, Mario Caiano, Stefania Casini, Luigi Cozzi, Armando Crispino, Ruggero Deodato, Mimsy Farmer, Franco Ferrini, Claudio Fragasso, Lucio Fulci, Umberto Lenzi, Antonio Margheriti, Aristide Massaccessi, Luigi Montefiori (George Eastman), Daria Nicolodi, Giannetto de Rossi, Dardano Sacchetti, Tom Savini, Romano Scavolini, Michele Soavi, Terence Stamp, David Warbeck, Bernardino Zapponi.
Very Good copy with crease to back cover.
1993, English
Hardcover (w. dust jacket), 74 pages, 26.7 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Grassfield Press / Florida
$280.00 - In stock -
Rare first edition of Ana Mendieta's posthumous artist's book, A Book of Works, beautifully produced in an edition of 2,400 copies, edited by Bonnie Clearwater, and long out-of-print.
Cuban American artist Ana Mendieta was working on many important projects that were left incomplete at the time of her tragic death in 1985 at age 36. Among these was a beautiful book of photo etchings of her carvings of female figures in remote caves on the outskirts of Havana, Cuba. These sculptures were inspired by the myths and beliefs of the Tainos, pre-Columbian inhabitants of the West Indies. This publication reproduces in facsimile Mendieta's unfinished book of photo etchings and related works and publishes, for the first time, her notes and writings for this important project.
Mencdieta's work crosses the categories of earth art, body art, performance and conceptual photography. As her works generally were site specific and ephemeral, they became know primarily through the photographic documentation she exhibited in galleries and museums. She intended her intimate book of photo etchings to capture the experience of viewing her elusive life-size sculptures in the close quarters of the caves.
Illustrated with many never-before published photographs, this book is an important contribution to the understanding of his extraordinary artist.
"...the authors have honored (Mendieta's) desires by crating a book that speaks softly an genuinely in the artist's voice."
by Alexandra Tager --Art & Auction magazine
"When Ana Mendieta died in 1983, she was working on a book similar to this one, a slim volume of photo etchings of the life-size figures she carved into the stone walls of caves in Cuba's Jaruco State Park. The artist, a "Pedro Pan" child who was sent out of Cuba in the early days of Castro's reign, spent her short art life seeking expression for her personal exile. Inspired by Taino mythology, these pre-Columbian islanders believed the first humans emerged from a cave-Mendieta identified the Cuban caves with birth,including her own. Her entire body of work, largely a collection of photographs documenting such ephemeral art forms as earth works, performance pieces and body art, was spun on this theme of self-identity, a return to her roots, to mother earth. Unlike her other photographic artifacts, however, these photo etchings were destined for a book, of which this is a facsimile. Her montes on the Taino myths appear as if in her own hand on these pages, along with her thoughts about how the book should be arranged. The result is an intimate experience with the artist's hand and mind and a unique act of closure for a career that ended in a still-unexplained fall from a New york high-rise."—Helen L. Kohen—Miami Herald (1993)
Bonnie Clearwater is the Director and Chief Curator of the Museum of Contemporary Art, North Miami, and the former curator of the Mark Rothko Foundation, New York. Among her publications are "Frank Stella at 2000: Changing the Rules"; "Defining the Nineties: New York,Los Angeles,Miami"; "Mark Rothko: Works on Paper"; "Edward Ruscha: Words Without Thoughts Never to Heaven Go"; and "David Smith: Stop/Action".
Fine copy in VG—NF dust jacket with sunning to spine.
2019, English
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
Ed. of 2500,
Published by
Primary Information / New York
$65.00 - In stock -
Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
1989, English / German / French
Softcover (w. flexi-disc), 280 pages, 26 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Daadgalerie / Berlin
Gelbe Musik / Berlin
$180.00 - In stock -
Rare first 1989 edition of Broken Music, an essential compendium for records created by visual artists. Complete with original flexi-disc. The publication was edited by Ursula Block and Michael Glasmeier and published in 1989 by DAAD and Gelbe Musik, Berlin. Broken Music focuses on recordings, record-objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
It also includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Knizak’s “Broken Music.” The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Works chosen for the publication revolved around four criteria: (1) record covers created as original work by visual artists; (2) record or sound-producing objects (multiples/editions/sculptures); (3) books and publications that contain a record or recorded-media object; and (4) records or recorded media that have sound by visual artists.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
Ursula Block is a curator living in Berlin, Germany. From 1981 until 2014, she ran gelbe Musik, a gallery and record shop in Berlin that featured work by artists at the crossroads between music and art. She was married to curator René Block.
Michael Glasmeier is a professor, writer, and editor living in Berlin, Germany. Since the early 1980s, he has curated dozens of shows that explore the intersection between the visual arts, music, film, and language.
Very Good copy all-round, light cover/corner wear.
2019, English
Softcover, 576 pages, 12.5 x 19 cm
Published by
Primary Information / New York
$54.00 - In stock -
I want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.”
—Tony Conrad, “Dolomite: Having No Trust in Readers”
Writings is the first collection to widely survey this singular polymath’s prolific activity as a writer. Edited by artists Constance DeJong and Andrew Lampert, the book spans the years 1961 – 2012 and includes fifty-seven pieces: essays originally published in small press magazines, exhibition catalogs, anthologies, and album liner notes, along with other previously unpublished texts. Conrad writes about his own work, with substantial contributions on The Flicker, Loose Connection, Four Violins, Articulation of Boolean Algebra for Film Opticals, Early Minimalism, Yellow Movies, Slapping Pythagoras, and Music and the Mind of the World, as well as that of his peers: Tony Oursler, Jack Smith, Rhys Chatham, and Henry Flynt, among others. He devotes critical essays both to grand subjects—horology, neurolinguistics, and the historical development of Western music—and more quotidian topics, such as television advertising and camouflage. He also writes on media activism, network communications, censorship, and the political and cultural implications of corporate and global media. No matter the topic or theme, Conrad always approaches his subjects with erudition, precision, and a healthy twist of humor.
Tony Conrad (1940–2016) was a multidisciplinary artist known for his groundbreaking art, music, films, and videos, although his work doesn’t fit comfortably within any of these disciplines. He eschewed categorization and actively sought to challenge the constraints of media forms, their modes of production, and the relationships of power embedded within them.
Re-print.
1993, English
Softcover, 150 pages, 20 x 13 cm
Ed. of 750,
1st UK Edition, Out of print title / used / very good
Published by
Het Apollohuis / Eindhoven
$140.00 - Out of stock
Very rare first edition of this wonderful collection of interviews with sound artists taking part in the festival ECHO, The Images of Sound II, in 1987, highlighting New Music and Sound Art, compiled by René van Peer. "This [accompanying] book has become an autonomous account of the personal histories of a number of sound artists, and thus it aims at providing an impression of the origins of Sound Art and New Music"—Paul Panhuysen, March 1993. Comprised entirely of in-depth interviews with Joe Jones, Richard Lerman, Jean Weinfeld, Martin Riches, Takehisa Kosugi, Horst Rickels, Johan Goedhart, Terry Fox, Christina Kubisch, Jim Pomeroy, Walter Fahndrich, Yoshi Wada, Paul Panhuysen.
Published in a limited edition of 750 copies. A valuable resource.
René van Peer is a journalist specializing in non-mainstream music.
Very Good copy.
2002, English / German
Softcover (spiral–bound), 76 pages + 2 x audio CD, 26.5 x 19.5 cm
1st Edition, Out of print title / as new
Published by
Berliner Künstlerprogramm des DAAD / Berlin
$25.00 - In stock -
Spiral–bound book and double CD set published to accompany the exhibition, Inventionen 2000: Berliner Festival Neuer Musik, Klanginstallationen - Akusmatische Konzerte, 2000, organised by Berliner Künstlerprogramm des DAAD and Technische Universität Berlin, lead by Ingrid Beirer, Folkmar Hein, Carsten Seiffarth. The publication comprises two CDs housed in a polyurethane sleeve inside a 76 page spiral-bound book in bi–lingual English/German containing liner notes, essays, biographies and full-colour photographs of the participants, installations and performances.
CDs feature: François Donato, Adrian Moore, David Prior, Mario Verandi, Alvin Lucier, Ron Kuivila, Tom Johnson/Martin Riches, José Antonio Orts, Ed Osborn, Christina Kubisch, Wolfgang Mitterer
As New copy.
1985–2001, English
Softcover (3 volumes), 144 + 152 + 102 pages, 30.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Het Apollohuis / Eindhoven
$80.00 - In stock -
Lot of 3 books. Each book is a five year compendium documenting the programme series at the legendary sound arts venue Het Apollohuis between the years 1985-1990; 1990-1995; 1995-2001. Founded by Remko Scha and Paul Panhuysen in 1980, Het Apollohuis was a unique space dedicated to experimental music and visual arts, "focused in particular on...sound art, new music, performance art and the new media," in Eindhoven, Netherlands, in a former nineteenth century cigar-factory. Between 1980 and 2001, Het Apollohuis organized 253 art exhibitions, 476 concerts and performances, 46 public lectures, symposia and several festivals (as "ECHO: images of sound II" in 1987 or FLEA Festival in 1997). Alongside an ambitious programme, Het Apollohuis also published prints, artist books, multiples, audio-cassette tapes, LPs, and CDs. This wasn't a museum or a traditional gallery. It was an independent space operating outside institutional structures, able to take risks and follow intuitions.
These books document all of these activities through profuse photo documentation, floor–plans, descriptions (in English), invites and biographies, all indexed. Includes accompanying essays. All in English.
For anyone interested in the history of experimental music and sound art in the 1980s–1990s, these books are essential. Not as nostalgia, but as documentation of a moment when possibilities were opening up, when artists were finding each other, when spaces like Het Apollohuis proved that independent platforms could operate at the highest level of ambition and seriousness. An indispensable reference.
Artists include: Éliane Radigue, Phill Niblock, Pauline Oliveros, Merzbow, Jerry Hunt, Elliott Sharp, Alvin Lucier, Yoshi Wada, Christian Marclay, Terry Fox, Akio Suzuki, Junko Wada, Paul Panhuysen, Michael Parsons, Alvin Curran, Bernard Villers, Takashi Kazamaki, Iva Bittová, Borbetomagus, Jon Rose, Rhys Chatham, Junko Ueda, Paul Gees, Tibor Szemző, Richard Lerman, Joe Jones, Christina Kubisch, Pascal Comelade, Jon Gibson, Tari Ito, Jim O'Rourke, David Shea, Rolf Julius, Gordon Monahan, Warren Burt, Keiji Haino, Eugene Chadbourne, Goji Hamada, Rafael Toral, David Behrman, Zeena Parkins, Jaap Blonk, Roman Signer, Ikue Mori, Felix Hess, Pierre Bastien, Goji Hamada, Herman De Vries, Ellen Fullman, Hugh Davies, Jan Boerman, Esther Ferrer, Boris Nieslony, Arnold Dreyblatt, Phil Jürgen Olbrich, Remko Scha, Jackson MacLow, Anne Tardos, Paul Dutton, J.H. Kocman, Eric Andersen, Alison Knowles, the Maciunas Ensemble, Hideharu Matsueda, Tokihiro Sato, Trimpin... just the tip of the iceberg.
All Very Good copies with some light wear to boards, light knocking.
c. 1989, English
Softcover (spiral bound), unpaginated, 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
David Dunn / California
$120.00 - Out of stock
Very rare, privately issued anthology of writings by pioneering experimental/environmental composer and researcher, Harry Partch's assistant, and Harry Partch Ensemble member, David Dunn. Around this time Dunn privately issued a series of 4 staple-bound publications that documented his pioneering work of electronic and acoustic, collected and reflected in his own words. This much larger anthology brings together a most vital compilation of his major technical and philosophical writings and sound research around human and non–human language, music, composition, and bio–acoustics that shaped his work and philosophy, opening with his 1984 essay Music, Language and Environment, followed by An Expository Journal of Extractions from Wilderness: Notes Toward an Environmental Language (1981), Speculations: On the Evolutionary Continuity of Music and Animal Communication Behavior (1983), Mappings and Entrainments (1984), Synchronisms: Toward a Phenomenological Science (1986), The Self-Referring Universe: Identity, Nonlocality and Evolution (Allyn B. Brodsky and David Dunn), Wilderness as Reentrant Form: Thoughts on the Future of Electronic Art and Nature, Chaos and the Emergent Mind of the Pond, Environment, Consciousness, and Magic (An Interview with David Dunn, 1988).
Composer David Dunn was born in 1953 in San Diego, California. He was an assistant to the American composer Harry Partch and remained active as a performer in the Harry Partch Ensemble for over a decade. He has worked in a wide variety of audio media inclusive of traditional and experimental music, installations for public exhibitions, video and film soundtracks, radio broadcasts, and bioacoustic research. His compositions and soundscape recordings have appeared in many international forums, concerts, broadcasts, and exhibitions. In addition to his multiple books, recordings and soundtracks, he has been anthologized in over 50 books and journals. Much of his current work is focused upon the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. He lives in Santa Fe, New Mexico.
Good–Very Good copy, light wear to cover pages.
c. 1980s, English
Softcover (spiral–bound), unpaginated, 28 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Self-Published
$65.00 - In stock -
A privately–published, spiral–bound compilation of interviews with American experimental music pioneer, David Rosenboom, spanning 1976–1983. Includes extensive interviews by Larry Polansky, Eva Soltes, Richard Teitelbaum, Walter Zimmermann, Symposium on Computer Music Composition (questions from C. Roads), Recent Cybernetic Insights from Synapse magazine, and more. Compiled around the time Rosenboom toured Europe with Anthony Braxton Quartet and was teaching at Mills College, Oakland.
David Rosenboom (b. Fairfield, Iowa, in 1947) is an American composer and a pioneer in the use of neurofeedback: in the 1970s he built systems in which the brainwaves of performers shaped the music, documented on Brainwave Music (1976) and in his book Biofeedback and the Arts. He has also worked with cross-cultural collaborations and compositional algorithms, and has performed with the mridangam master Trichy Sankaran. He studied composition, performance and electronic music at the University of Illinois with Salvatore Martirano, Lejaren Hiller and Kenneth Gaburo among others, taught at Mills College and for three decades was dean of music at CalArts, where his students have included several generations of experimental composers.
VG with only very light age/wear.
1989–1993, English
Softcover (staple–bound), various formats, unpaginated
1st Edition, Out of print title / used / good
Published by
Mark Nowak / Minnesota
$90.00 - In stock -
Rare, virtually undocumented issues of Mark Nowak's sound-art / poetry zine, Furnitures: The Magazine of North American Ideophonics, self-published in the late 1980's into the early 1990's. Issues 7, 8, 9, 11, & 12, c. 1989–1993. Photocopied and stapled, the issues feature visual scores, experimental/concrete/visual poetry, essays, mappings, performance pieces, reflections, reviews and research by experimental American poets, composers, artists, environmentalists, and anthropologists, bound in various formats and laid out to correspond with the contributors' work. A wonder of a publication from the world of American environmental sound and poetics.
No. 7: Stephen Ratcliffe, Pauline Oliveros, Ralph Knowles, Hugh Brody.
No. 8: Alan Drake, Philip Blackburn, David Dunn, Karl Young, Kenneth Gaburo.
No. 9: Rod Lohin.
No. 11: Joe Catalano, Elaine Equi, John Bradley, Lisa Jarnot, Maurice Kenny, Michelle Perez, Karl Kempton, Jim Barnes, George Albon, Kenneth Gaburo, Katie Yates, Dick Higgins, N. Sean Williams.
No. 12: Theodore Enslin, Diane Glancy, Elaine Barkin, R. Murray Schafer.
Mark Nowak is an American poet, as well as cultural critic, playwright and essayist, from Buffalo, New York.
All G-VG copies with light wear/age to extremities, neat previous postage folds to some, some marking. Not post–marked.
1989, English
Softcover (staple–bound), 28 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Fellowship of Australian Composers / Sydney
$70.00 - Out of stock
Extremely rare first 1989 issue of Ossia: A Journal of Contemporary Music, published in Sydney by the Fellowship of Australian Composers. Led by the Sydney–based Australian composer, pure mathematician, and chess problemist/chess composer, Ian Shanahan (1962–2021) with an editorial panel including fellow composers Paul Brown, Michael Whiticker and Justine Wilkinson, Ossia was an independent musical periodical founded in 1989 to serve as a forum for avant-garde music theory, compositional analysis, interviews with living composers, and aesthetic debates during the late 20th century in Australia. In musical terminology, "ossia" refers to an alternative passage of music that can be played instead of the original text—reflecting the publication's mission to highlight alternative, contemporary voices in classical music.
This inaugural issue's contents: Editorial, Paul Brown - After the Party: Australian Music in the Bicentennial Year, Michael Whiticker - Morton Feldman: Conversation without Cage, Justine Wilkinson - Ricardo Formosa's Domino, lan Shanahan - The Theory of Bitones, Liza Lim - ISCM World Music Days Festival 1988, Richard Toop - New Music on CD: Recent Releases, The Inaugural Fellowship of Australian Composers Award, and more.
VG copy with light wear. Includes hand written "with compliments" note from editor and president of the Fellowship of Australian Composers, lan Shanahan, to Australian avant–garde composer Warren Burt, whose work inspired his article on Bitones, plus a membership application to the Fellowship of Australian Composers.
1978, English
Softcover (staple-bound), 64 pages, 29.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
ANU Arts Centre / Canberra
$200.00 - In stock -
Rare catalogue published on the occasion of Act 1: an exhibition of performance and participatory art, 4—12 November 1978, spanning the ANU Arts Centre, Commonwealth Gardens and Civic Centre, Canberra. Organised by the ANU Arts Centre, Act I drew Australian artists to Canberra for the "first of a series of exhibitions directed towards specific aspects of recent and experimental art". Profusely illustrated artist pages throughout with photo documentation, collage, drawings, and artist's texts. Artists include Mike Parr, Ian Hamilton, Terry Smith and Media Action Group (Ian Burn, Nigel Lendon, Terry Smith, Michael Dolk, Kieren Finnane, Mary Kinney, Ian Milliss, Anne Sutherland...), Leigh Hobba, Kevin Mortensen, John Nixon, John Davis, Marr Grounds, Ken Unsworth, John Fisher, Liz Honybun, David Kerr, Richard and Pat Larter, Tony Twigg, Lesley Savage, Terry Smith, Tony Twigg, Bob Ramsay, Noel Sheridan, Arthur Wicks, Jillian Orr, Richard Tipping, Jim Cowley, Donald Walters... Includes critical essays by Paul McGillick and Terry Smith on performance art and private and public work, plus further texts by organisers Ingo Kleinert, Diana Ashcroft Johnson, Mildred Kirk. The catalogue also operates in as a document of the exchanges between the organisers and the artists, laying bare the operations and budget, reproducing the open letter to the invited artists along with a selection of the signed responses outlining the artistic concepts, all reproduced in full facsimile. Signatures and transcribed concept responses of contributing artists also make up the wrap-around cover design. Also of particular interest for the contribution by Terry Smith and Media Action Group, who formed in 1977 at Sydney University around the Australian members of the Art & Language group, who had recently returned to Australia. The group produced slide shows on the ideological bias in media treatment of advertising, uranium mining, new technology and the history of May Day. This work is stamped "withdrawn because titled 'performance'" in the contents.
Very Good copy with light wear to cover extremities/light spine pinching. Toned pages from age.
1995, Japanese
Softcover, 110 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / very good
Published by
G-Modern / Tokyo
$90.00 - In stock -
Vol. 8 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Spring 1995, this early issue features Albert Ayler, Kenji Endo, AMM, Nihilist Spasm Band, Can / Holger Czukay, Stever Beresford, LAFMS, Miles Davis, Hawkwind, Butch Morris, The Pop Group, Television, Hiroshi Mikami, Q-65, unknown masterpieces, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, cover wear.
1997, Japanese
Softcover, 112 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / fine
Published by
G-Modern / Tokyo
$70.00 - In stock -
Vol. 17 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter '97-'98, this early issue features Jutok Kaneko, Congregation, Current 93, Arthur Doyle, Klaus Dinger, Kikuchi Kōji, Barre Phillips, Chu Ishikawa, Nelly Pouget, Screamin' Mee-Mees, Solmania, Mike Whilhelm, Sumegma, unknown psychedelia, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Fine copy.
1994, Japanese
Softcover, 108 pages, 25.5 x 18 cm
1st Edition, Out of print title / used / good
Published by
G-Modern / Tokyo
$90.00 - In stock -
Vol. 5 issue of G-Modern, the scarcely seen cult underground music magazine published by the late Hideo Ikeezumi, founder of the legendary P.S.F. label and Modern Music record store, Tokyo’s home for underground, avant-garde and obscure musics. Published in Winter 1994, this early issue features Derek Bailey, Motoharu Yoshizawa, Captain Beefheart, George A. Romero, Keiji Haino, Smegma, Patti Smith, Jean-Luc Godard, Hawkwind, Pierre Henry, Shinro Ohtake, Shoichi Ozawa, Alvin Lucier, Frank Zappa, history/discography of Akifumi Nakajima's (Aube) G.R.O.S.S. label, articles on extremely obscure psych from around the world, record reviews, and much more.
"The text is all in Japanese, but each issue is crammed with great photographs, weird artwork and ads, and lots of album reviews (the Japanese tradition of always reproducing every cover is helpful here). There's a big emphasis on older, ultra obscure stuff, so there's always a few repros of covers you'll definitely never see for the rest of your life. The accent is not only on the Tokyo underground as documented by PSF, but the entire history of worldwide psychedelic, avant-garde and underground music. Each issue is printed on nice book stock paper, in the 100 page range." - (Forced Exposure)
Very Good, light cover wear.
1987, English
Softcover (staple–bound), 24 pages + inserts, 30 x 21 cm
1st Edition, Out of print title / used / good
Published by
Australian Music Centre / Melbourne
$35.00 - In stock -
January 1987 edition of the AMC NEWS (Australian Music Centre Newsletter), "Collaboration ?," guest edited by Corinne d'Aston. An important newsletter on the happenings around the AMC and Australian sound art in general, mailed out to members. Contents: Collaboration? – A Discussion Between Four Theatre Artists and Sarah de Jong; The Doll – Music Theatre Workshop, Caroline Wilkins; Creative Collaboration – Martin Wesley-Smith; Playing Around in Open Spaces – David Chesworth; Collaboration in Dance – Stephen Leek; Interdisciplinary Artistic Collaboration – A Survivor’s Account – Bruce Harper. Illustrated throughout.
Includes an inserted membership form and a listing of the scores received at the centre from December 1986 to January 1987.
Founded in 1974, the Australian Music Centre (AMC) is the national service organisation and archive dedicated to promoting and supporting Australian art music and its creators. Born out of the Whitlam era's cultural expansion, the centre champions a vast spectrum of creative expressions, including contemporary classical, jazz, experimental music, and sound art. It houses a living digital repository of tens of thousands of scores, recordings, and educational tools, while simultaneously facilitating professional development, distributing published music, and co-hosting the prestigious annual Art Music Awards.
G–VG copy with light wear to extremities.
1973, Japanese
Softcover, 114 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Jazz People Sha / Tokyo
$120.00 - In stock -
Very rare copy of Tokyo's Jazz magazine, No. 20, Autumn 1973, with Don Cherry cover. At the forefront of the Jazz scene, edited by Japanese photojournalist and famous jazz critic Seiichi Sugita, Jazz is packed with rare gravure photography, interviews, scene reports, reviews, articles by leading artists, authors and critics, record labels and jazz coffee shop advertisements, this issue including special features on Sonny Rollins at the Village Vangaurd (photography by Seiichi Sugita), the Newport Jazz Festival New York — Archie Shepp, Milford Graves, Don Cherry, Lester Bowie, Joseph Jarman, Roscoe Mitchell, Ella Fitzgerald, Keith Jarrett, etc. (photography by Seiichi Sugita), Montreux Jazz Festival Summer 1973 (photography by Aoki), a message to Japanese music friends from Chick Corea (about Scientology!), articles on narcotics, improvisation, natural foods, extensive illustrated live and record reviews, and much more...
Very Good copy.
1974, Japanese
Softcover, 130 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Jazz People Sha / Tokyo
$120.00 - In stock -
Very rare copy of Tokyo's Jazz magazine, No. 24, August 1974, a special John Coltrane issue. At the forefront of the Jazz scene, edited by Japanese photojournalist and famous jazz critic Seiichi Sugita, Jazz is packed with rare gravure photography, interviews, scene reports, reviews, articles by leading artists, authors and critics, record labels and jazz coffee shop advertisements, this issue including special feature and homage to John Coltrane with a huge Coltrane interview, rare photographs, articles, a complete illustrated discography, a photo-report and interview with Japanese saxophonist Kosuke Mine in New York (photography by Seiichi Sugita), Duke Ellington, Eric Dolphy, Celestial Music, extensive illustrated live and record reviews, and much more...
Very Good copy.
1974, Japanese
Softcover, 130 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Jazz People Sha / Tokyo
$60.00 - In stock -
Very rare copy of Tokyo's Jazz magazine, September 1974. At the forefront of the Jazz scene, edited by Japanese photojournalist and famous jazz critic Seiichi Sugita, Jazz is packed with rare gravure photography, interviews, scene reports, reviews, articles by leading artists, authors and critics, record labels and jazz coffee shop advertisements, this issue including special features on Herbie Hancock with a full chronology and discography, Montreux Jazz Festival 1974 w. Sonny Rollins, Johm McLaughlin, Gil Evans, Lester Bowie, Joseph Jarman, Roscoe Mitchell, Jean-Luc Ponty, Rufus Harley, Don Moyer, Alphonse Mouzon, etc. (photography by Seiichi Sugita), interview with jazz pianist Mikio Masuda, Duke Ellington, Eric Dolphy, Celestial Music, extensive illustrated live and record reviews, and much more...
Very Good copy.
1975, Japanese
Softcover, 120 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Jazz People Sha / Tokyo
$140.00 - In stock -
Very rare copy of Tokyo's Jazz magazine, January 1975. At the forefront of the Jazz scene, edited by Japanese photojournalist and famous jazz critic Seiichi Sugita, Jazz is packed with rare gravure photography, interviews, scene reports, reviews, articles by leading artists, authors and critics, record labels and jazz coffee shop advertisements, this issue including special features on Miles Davis with loads of rare photographs (inc. Miles Davis at the Newport Festival 1969 shot by Seiichi Sugita), article on Miles, complete Mile Davis discography, Japanese jazz pianist Toshiko Akiyoshi in New York (photography by Seiichi Sugita), European Jazz report, Eric Dolphy, Celestial Music, extensive illustrated live and record reviews, and much more...
Very Good copy.