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 PM
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
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.
-
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.
1980, English
Softcover (staple + tape bound), 76 pages, 29 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Experimental Art Foundation / Adelaide
$380.00 - Out of stock
Exceptionally rare private-issue publication documenting the Experimental Art Foundation (EAF) Performance Week, March 1980. The festival, directed by Noel Sheridan, centred around Carclew House, Adelaide, and featured the work of Brian Abraham, Arch-y Brothers (Pram Factory), Art Circus, Chris Barnett, Richard Boulez, Ross Boyd, Peter Callas, Domenico de Clario, → ↑ → (Tsk Tsk Tsk), Graeme Davis, Ross Digby, Lionel Doolan, EG (Chris Mann, Paul Pendergast, Peter Munnie, Hugh McSpedden), F.A.C.K (F Martins, A. White, C. Brooks, K Turner, K. Flugelman), Dale Franks, Ann Fogarty, Sandra Greentree, Adrian Hall, Elizabeth Honeybun, Jan Hubrechsen, Kathy Marmour, Robert McDonald, Kevin Mortensen, Bruce Lamrock, Steve Turpie, Peter Hopcraft, Jill Orr, Mike Parr, Jackie Redgate, SALT workers (C. Brooks, P. Cheslyn, A. Davy, K Flugelman, F. Martins, B. Sachs, D. Watt, A. White, S. Wigg, D. Kreckler), SIDE F/X (G. Aldridge, J. Lawes, W. Hutchins, M. Shirley, R. Maude, M. Kolodrovic, T. Reid, K. Stanton, L. Lee), Strachan and Pearce, David Tolley and Bruce Tolley, Karen Tyler, Peter Tyndall, Donald Walters, Dave Watt, Arthur Wicks, Dave Young... no less!
Profusely illustrated with artist pages packed with photographic documentation, texts, drawings, and more. Two page introduction text by Noel Sheridan. Printed and published by EAF for the participants, this is an incredibly rare and important document of the history of radical performance art in Australia in the 1980's.
The EAF was founded in Adelaide in 1974 by a small group of artists, curators and theorists, with a mission to promote art that interrogated the status quo, was only incidentally aesthetic, and, by definition, was radical. This important national and international organisation promoted experimental art practices and became renowned for supporting early performance art in Australia.
Very Good copy with a small scuff/knick to the bottom of the front cover, light cover marking.
From the collection of Australian artist (and performer during the event) Bernhard Sachs (1954—2022), whose name is penned to the top of the first blank page, date "'80".
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
$250.00 - 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.
1989, English / German
Softcover (w. dust jacket), 392 pages, 24 x 18.5 cm
1st Edition, Out of print title / used / fine
$165.00 - In stock -
Absolutely essential reference work on the artists associated with the Vienna Actionism group, the second volume of an exhaustive account of Viennese Actionism, this book covering the later years of the movement—1960 through 1971.
Viennese Actionism was the most extreme artistic project of the 1960s, mostly preceding and always surpassing the other performance art, body art and happenings in terms of sheer violent excess. Though never officially a group, Günter Brus, Otto Mühl, Hermann Nitsch and Rudolf Schwarzkogler shared a similar reaction to the restrictive political and cultural climate of the Austrian art scene of the 1950s and 1960s. They established the body as a site of exploration, and its blood, sweat and excrement as art material: performance as the transgression of both social and religious taboo, and art itself as a violent, tragic recognition of brute fact.
Volume two of an exhaustive two-volume exhibition catalogue published in conjunction with show held at Graphische Sammlung Albertina, Wien, March—April 1989 that traveled to Museum Ludwig, Köln, August—September 1989. This handsome volume presents a vast collection of images and essays about Viennese Actionism between 1960—1971, focusing on work produced after 1964, particularly work involving process and performance. Includes essays by Hubert Klocker, entitled "The Dramaturgy of the Organic" and "The Shattered Mirror"; an essay by Konrad Oberhuber entitled "Thoughts on Viennese Actionism" ; biography, action chronology, and related images for artists Günter Brus, Otto Mühl, Hermann Nitsch, and Rudolf Schwarzkogler; bibliography.
Edited by Hubert Klocker.
Texts in both English and German.
Highly recommended.
Near Fine copy.
1970, English
Softcover, 144 pages, 18 x 11 cm
Out of print title / used / very good
Published by
Penguin Books / London
$15.00 - In stock -
Malone Dies is the death-bed soliloquy of an old and helpless man, concerned to tell nothing but the truth. From his meagre recollections and resolutions and a few shreds of stories, the author of Waiting for Godot has composed what is a prose-poem rather than a novel. Beckett's feeling for words is uncanny. As memory flickers uneasily in the ashes of a dying intellect, the reader is seized by an irresistible sense of desolation.
The cover shows 'Skull 1923' by Alberto Giacometti by kind permission of Sir Robert Sainsbury (photo Rodney Todd-White)
G—VG copy with light cover wear and page tanning, ex-owner name to first page.
1993 / 1999, English
Softcover, 109 pages, 19.5 x 12.5 cm
Out of print title / used / very good
Published by
John Calder / London
$25.00 - In stock -
Antonin Artaud is now recognized as the twentieth century's most radical influence on the theatre and on performance. In this, the most famous of his writings, he redefines the nature and the purpose of drama, what the theatrical reaction of audiences should be an experience to shake their certainty of everyday existence and how actors should approach their work. Peter Brook, Grotowski, the Royal Shakespeare Company, and many others have used Artaud's theories in their work, and in drama colleges everywhere it is obligatory reading.
The Manifestos of the Theatre of Cruelty, the text of Seraphim's Theatre and other major texts are all included here.
This remarkable French playwright and poet was born in 1896. He was a leading figure in the Surrealist movement and despite a divergence of ideas remained a dedicated Surrealist all his life, devoting his time to the study of problems of conflict between man's physical and intellectual natures. He died in 1948.
Good copy.
1990, English
Softcover, 144 pages, 20.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
City Lights Books / San Francisco
$50.00 - In stock -
First 1990 edition of Shock Treatment, the collection of Karen Finley’s most provocative and acclaimed performance monologues, essays, and poems, with “The Constant State of Desire,” “We Keep Our Victims Ready,” “It's Only Art,” and “The Black Sheep.” Excoriating misogyny, homophobia, abusive families, greed, and state coercion of bodies and minds, Finley holds out hope for a world informed not by hate and fear, but by truth and unconditional love.
“If you haven’t read this book yet–buy it, take it home, and read it now! This is the work that made me get off my ass and actually do something, and it will inspire you, too.”–Kathleen Hanna, singer, Bikini Kill, Le Tigre and The Julie Ruin
“Finley’s Shock Treatment is more than just ‘art.’ It remains a searing and necessary indictment of America, a call to arms, a great protest against the injustices waged on queers and women during a time in recent American history where government intervention and recognition was so desperately needed. Twenty-five years on, Finley’s work continues to shock and provoke readers and audiences, demonstrating the powerful cultural and political impact her work has had on modern American art and performance art.”–Nathan Smith, Los Angeles Review of Books
No other artist captures the drama and fragility of the AIDS era as Karen Finley does in her 1990 classic book Shock Treatment. “The Black Sheep,” “We Keep Our Victims Ready,” “I Was Never Expected to Be Talented,”–these are some of the seminal works which excoriated homophobia and misogyny at a time when artists and writers were under attack for challenging the status quo. This twenty-fifth anniversary expanded edition features a new introduction in which Finley reflects on publishing her first book as she became internationally known for being denied an NEA grant because of perceived obscenity in her work. She traces her journey from art school to burlesque gigs to the San Francisco North Beach literary scene. A new poem reminds us of Finley’s disarming ability to respond to the era’s most challenging issues with grace and humor.
KAREN FINLEY’s raw and transgressive performances have long provoked controversy and debate. Karen Finley (b. 1956) is an American performance artist, musician, poet, and educator. Her raw and transgressive performances have long provoked controversy and debate. Her performance art, recordings, and books are used as forms of activism. Her work frequently uses nudity and profanity.Finley incorporates depictions of sexuality, abuse, and disenfranchisement in her work. She is a professor at the Tisch School of the Arts at New York University.
VG copy.
2020, English
Hardcover, 504 pages, 30 x 22 cm
Ed. of 500 copies,
1st Edition, Out of print title / as new
Published by
Haallicht / Germany
$45.00 - In stock -
Second volume of Haallicht Black/Death Metal "zine" featuring 72 interviews (written in English) and photography/art spanning 504 pages bound in hardcover in an edition of 500 copies. Features 13th Moon, Abysmal Lord, Adversarial, Altar Stomper, Antediluvian, Antiversum, Baxaxaxa, Black Curse, Black Majesty, Black Witchery, Blasphemy, Blood Chalice, Blood Rites, Caveman Cult, Chaos Cascade, Charnel Altar, Cntmpt, Conqueror, Dakhma, Dead Congregation, Death. Void. Terror., Death Worship, Dsknt, Diocletian, Dodenbezweerder, Doomed And Disgusting, Dysangelium, Funereal Presence, Genocide Shrines, Grave Miasma, Gut, Hellfire Deathcult, Hetroertzen, Horna, I I, Incantation, Irkallian Oracle, Karloff,– Knokkelklang, Kringa, Kvr, Malthusian, Mare, Nortfalke, Nuclearhammer, Nyogthaeblisz, Occvlta, Of Feather And Bone, Qrixkuor, Sadistik Exekution, Sepulchral Zeal, Slagmaur, Spectral Voice, Temple Desecration, Tetragrammacide, The Ruins Of Beverast, Thorybos, Verdunkeln, Void Rot, Voreus,–
Witchcraft, Witches Brew, Wrathprayer, Iron Bonehead Productions, Ván Records, Alexander Kavtea, Black Arts Of Mine, Lichtlaerm Audio, A Sinister Purpose, House Of The Holy, Compilation Of Death, Feed The Beast...
As New copy.
1995, English
Softcover, 244 pages, 24.5 x 17 cm
1st Edition, Out of print title / used / average
Published by
Creation Books / London
$45.00 - Out of stock
HELL ON EARTH!
First 1995 Edition.
From the Roman games to American travelling carnivals, freakshows - human anomalies presented for spectacle - have flourished throughout recorded history. The birth of the movies provided a further outlet for these displays, which in turn led to a peculiar strain of bizarre cinema: Freak Film.
Inside Teradome is a comprehensive, fully illustrated guide to the roots and development of this fascinating, often disturbing cinematic genre.
Including:
A brief history of teratology; freaks in myth and medicine.
The history of freakshows, origins of cinema.
Influence of sideshows on cinema.
Use of human anomalies in cinema.
Freaks and geeks.
Bizarre cinema: mutilation and other fetishes.
Illustrated filmography; index.
From the pioneering illusions of Georges Méliès and the Expressionist distortions of Dr Caligari, the surgical horrors of Mad Love and real-life grotesqueries of Tod Browning's Freaks, to the modern nightmare visions of Texas Chainsaw Massacre, Eraserhead, and Santa Sangre, Inside Teradome reveals a twisted thread of voyeuristic sickness running not only through cinema, but through the society of which it has always been the most telling barometer.
WARNING: CONTAINS ADULT MATERIAL
Average copy with wear to corners and edges, creasing.
2024, English
Softcover, 176 pages, 17.7 x 12.3 cm
$35.00 - In stock -
un Anthology 2014–2024: another decade of art and ideas. Revisiting VOL 9–17 with new introductions from past guest editors including Shelley McSpedden & Meredith Turnbull, David Capra, Neika Lehman & Arlie Alizzi, Hugh Childers & Bobuq Sayed, Elena Gomez & Rosie Isaac, Snack Syndicate (Andrew Brooks & Astrid Lorange), Hilary Thurlow & D Harding, and Bahar Sayed & Gemma Weston. Plus essays from Lily Hibberd and Audrey Jo Pfister.
Featuring works by Rosie Isaac, Anatol Pitt, Anastasia Klose, Genevieve Grieves, Andrew Norman Wilson, Sam Peterson, Gabriel Curtin & Ender Başkan, Melissa Ratliff, and Timmah Ball.
Designed by Zenobia Ahmed & Dennis Grauel in Naarm/Melbourne.
2024, English
Softcover, 208 pages, 17.7 x 12.3 cm
Published by
un / Naarm
$30.00 - In stock -
Double issue un 18.4 / un 18.5
un 18.3 — Sabaar
Edited by Nadia Refaei
Contributions by Caine Chennatt, Dean Greeno, Hasib Hourani and Jeanine Hourani, Monica Rani Rudhar, Grace Gamage, Kiera Brew Kurec, Jess Clifford, Brooke Pou, Sara Jajou, Juliette Berkeley, Ronen Jafari, Nadia Refaei.
un 18.4 — good grief
Edited by Olivia Koh
Contributions by Zainab Hikmet and Anna Emina El Samad, Peta Clancy and Olivia Koh, Mihret Kebede, Lana Nguyen, Ellen van Neerven, Benjamin Bannan, Jacqui Shelton, Lily Golightly and Jemi Gale, Laniyuk, Tristen Harwood, Tamsen Hopkinson, Olivia Koh.
2024, English
Softcover, 208 pages, 17.7 x 12.3 cm
Published by
un / Naarm
$30.00 - In stock -
Double issue un 18.1 / un 18.2, August 2024
un 18.1
Edited by Tara Heffernan
Contributions by Scott Robinson, Daniel McKewen, Elyssia Bugg, Georgia Puiatti, Vincent Lê, Yannick Blattner, Aimee Dodds, Sam Beard, Eugene Hawkins, Francis Russell, Tara Heffernan, Carmen-Sibha Keiso, Alexandra Peters.
un 18.2
Edited by Joel Sherwood Spring
Contributions by SJ Norman, Enoch Mailangi, Ragnar Thomas, Georgia Hayward, Hideko G. Ono, Suvani Suri, Diego Ramírez, roxxy marsden, Nadia Demas, Joel Sherwood Spring.
2021, English
Softcover (w. dust jacket), 112 pages, 22.23 x 14.61 cm
Published by
Hayward Gallery Publishing / London
$48.00 - In stock -
The abiding presence of spiritualism in art, from af Klint to Susan Hiller.
Bringing together more than 30 international artists from the late 19th century to the present day, Not without My Ghosts surveys work inspired by spiritualism and its rich cultural history.
With original essays by art historian Susan L. Aberth and curators Simon Grant and Lars Bang Larsen, this publication explores the anti-authoritarian political agendas of 19th-century spiritualism and the movement’s close association to the history of feminism, as well as its continued influence on contemporary practitioners. Spanning diverse artistic approaches, Not without My Ghosts offers a unique insight into the ties that bind spirit and mediumistic art across the centuries.
Artists: William Blake, Cameron, Ann Churchill, Ithell Colquhoun, Louise Despont, Casimiro Domingo, Madame Fondrillon, Chiara Fumai, Madge Gill, Susan Hiller, Barbara Honywood, Georgiana Houghton, Anna Mary Howitt, Victor Hugo, Augustin Lesage, Pia Lindman, Ann Lislegaard, André Masson, Grace Pailthorpe, František Jaroslav Pecka, Olivia Plender, Sigmar Polke, Lea Porsager, Austin Osman Spare, Yves Tanguy, Suzanne Treister with The Museum of Blackhole Spacetime Collective
2025, English
Hardcover, 368 pages, 28 x 28 cm
Published by
Hauser & Wirth / Zurich
Hauser & Wirth / Los Angeles
$160.00 - In stock -
Hammons' body prints, flags and found-object sculptures come together in this artist's book documenting his thought-provoking conceptual exhibition.
This post-exhibition catalog revisits David Hammons’ 2019 show at Hauser & Wirth Los Angeles. A singular book created entirely under the artist’s direction, this publication illustrates the most expansive exhibition of this legendary artist’s work to date.
Said critic Jonathan Griffin of the original exhibition, "Alongside finished artworks, including framed examples of Hammons’s sublime drawings made with bounced basketballs and powdered Kool-Aid, there are plenty of apparently ad hoc, readymade interventions, installations in which it is unclear where one ends and the next begins. … Hammons, it seems, wants his viewers to relax, historiography be damned."
Born in 1943 in Springfield, Illinois, David Hammons moved to Los Angeles in 1963 at the age of 20 and began making his body prints several years later. He studied at Otis Art Institute with Charles White and became part of a younger generation of Black avant-garde artists loosely associated with the Black Arts Movement. In Los Angeles, Hammons was a cofounder of Studio Z, a group which included Senga Nengudi, Maren Hassinger, Joe Ray and others. Hammons has lived in New York since 1978.
2008, English
Softcover, 150 pages, 23 x 15.5 cm
Published by
Solar Books / US
$45.00 - In stock -
The work of Antonin Artaud (1896-1948) remains a constant source of seminal inspiration, astonishment and provocation across contemporary visual art, film, performance, choreography, digital media, and critical theory, throughout the entire world.
In Artaud: Terminal Curses, Stephen Barber explores the newly-revealed set of 406 notebooks which Artaud used in the final years of his life in Paris, after his release from a decade of asylum-incarceration, to carry through his projects for corporeal transformation and social refusal. Artaud’s notebooks are designed as an autonomous work in their own right, through which he distils his preeminent preoccupations: the envisioning of a new, organ-less human anatomy (crucial for Deleuze and Guattari’s theoretical work), his conception of the time and space of gesture, his raw fury against society and all of its manifestions, his visualization of a ruined and supplanted natural and urban world, his intensive confrontation between text and image, and his reflections on the fluctuationg parameters of life and death. Those preoccupations retrospectively illuminate Artaud’s earlier Surrealist work and theories of film and performance.
With 24 pages of illustrations, this eye-opening and original book will be of major significance for all readers interested in the extreme zones of art, literature and media, as well as providing critical new revelations for those engaged with Artaud’s work.
1999, English
Softcover, 128 pages, 24 x 18 cm
1st Edition, Out of print title / used / good
Published by
Creation Books / London
The Tears Corporation / London
$40.00 - Out of stock
Antonin Artaud (1896-1948) remains the most inspirational, provocative and challenging figure in world-wide contemporary culture. His trajectory extends from the Surrealist movement, to the Theatre of Cruelty, to the lunatic asylums of France, and finally back to Paris and the most astonishing period of his work.
For the first time, the book gives a full and authoritative account of Artaud's film projects, and his conception of Surrealist cinema. It examines his unique series of drawings of the fragmented human body, begun in the ward of a lunatic asylum and finished in a state of furious liberation. Finally, the book captures Artaud's ultimate experiment with the screaming body in the form of his censored recording To Have Done With The Judgement Of God - an experiment which is unprecedented in the history of art, and which ultimately decimates that history.
The Screaming Body is an essential resource and inspiration for those engaged in creating the definitive culture of our time, in film, art, music and writing.
Good copy, some wear to cover otherwise VG throughout rest.
1999, English
Softcover, 300 pages, 17 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Black Dog Publishing Ltd / London
$220.00 - Out of stock
Scarce first 1999 edition of this definitive resource on the work of COUM Transmissions and Throbbing Gristle.
"These people are the wreckers of civilisation", exclaimed the Conservative Member of Parliament Nicholas Fairbairn in 1976. His outburst was meant to describe four artists and musicians: Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson and Chris Carter - members of the seminal band Throbbing Gristle. What "these people" had done to deserve such an epithet, and what they were about to do, is the subject of this book.
Throbbing Gristle are widely lauded as the band that invented industrial music, and their influence can be observed across today's musical landscape: from house and techno to industrial death metal. Wherever experimental electronic music is being made, Throbbing Gristle's influence can be felt.
"Wreckers of Civilisation recalls a time which despite volumes of print remains occluded, obdurate, even intimidating: that moment before the conservative reconstruction. To be awake in London in the late 1970s was to be plunged into turmoil: externally manifest in riot, internally within various forms of damage and depression and, if one felt brave or driven, extreme aesthetics. COUM Transmissions and Throbbing Gristle mark the furthest reach of that impulse: even more so than Punk, they plunged into a technological and personal examination of the dark side - the forbidden, the taboo, the dystopian future on the doorstep. Today this might seem like science fiction or deliberate shock tactics, but then it seemed like reportage, front line dispatches from a convulsed country."
Heavily illustrated and complete with a chronological list of actions, concerts and exhibitions, discography, filmography, bibliography and much more, this heavy volume has become an invaluable and sought after resource on TG, COUM Transmissions, and Industrial Records.
Simon Ford is a freelance writer and art historian. He was previously Research Associate in Craft and Design and Curator of the Design Council Slide Collection at Manchester Metropolitan University, as well as being a curator at the Victoria and Albert Museum. He received his PhD in the History of Art from the Courtauld Institute of Art in 2000. He is the author of Wreckers of Civilisation: The Story of COUM Transmissions and Throbbing Gristle (1999, 2017, Black Dog Publishing). His most recent book is The Situationist International: A User's Guide (2006, Black Dog).
Very Good copy.
2018, English
Hardcover, 152 pages, 32 x 25 cm
Ed. of 500,
1st Edition, Out of print title / used / very good
Published by
Timeless Edition / Paris
$200.00 - In stock -
First 2018 regular hardcover edition of NEKROPHILE – “Archives & Documents” by Genesis Breyer P-Orridge. Culled from Genesis’s private, mostly unpublished archives, “Archives and Documents” presents 152 full color pages of crucial early art terrorism from h/er little seen Nekrophile zine, reproduced here in full. Nekrophile magazine was conceived in 1968 by GPO as a single issue. The collages, drawings, poems and texts gathered in it deal with the themes that later prevailed in the iconography of Industrial Music. This volume also displays ultra rare and previously unseen TG and PTV documents selected by GPO. Edited by Nicolas Ballet with personal explanations and insights added by GPO, this volume is an essential visual document of Gen’s contributions to art and culture from the mid 1960s onwards with a strong emphasis on that most controversial and rewarding period of the late ’70s and early ’80s.
Edition of 500 copies, out-of-print.
2010, English
Hardcover, 400 pages, 24 x 31 cm
Published by
Les Presses Du Reel / Paris
Mennour / Paris
$150.00 - Out of stock
The Molinier bible! A mammoth, crucial 400 page book on the method and genesis of Pierre Molinier's provocative, gender-bending photos and artwork. Beautifully printed and prodigiously illustrated with over 800 pictures, mostly unpublished, numerous documents, manuscripts and letters, a complete (nearly 100-page) chronology, a critical biography, and a text by Jean-Luc Mercié.Molinier. Essential publication on Molinier, the most comprehensive to date, and a must for any fan.
Rare English edition translated from the French by Edward Penwarden.
Pierre Molinier is an unknown of worldwide renown. Every book and every exhibition on the body, gender confusion or sexual excess seems to feature at least one work by this artist whose “genius” was acclaimed by André Breton in a memorable text published in 1956. But the bulk of his work has remained inaccessible. A number of pictures have never been shown and a corpus of only 160 prints has been published. The ensemble revealed by the artist's archives is much more extensive. It includes numerous proofs made to prepare his photomontages and working prints given to friends, but also notebooks and personal letters. Here, precise links emerge between his paintings, photographs and scandalous life. The myth carefully constructed by the artist begins to crumble before the reality of the work.
An inveterate seducer, thoroughgoing fetishist, unrepentant transvestite and inadvertent bisexual, to the very last Molinier remained haunted by two obsessions: pleasure, meaning immediate access to la petite mort, and “leaving a trace in the infinity of time.” This book charts the aesthetic incarnation of his passions. Its 819 photographs, most of them never published before, reveal the method, shed light on the procedures and give details of the origin and alchemy of his latent or composed images. Finally, an exhaustive chronology offers a new biography of Molinier, based on his letters: for it is in the intimacy of these writings that the shaman's heart beats closest to the truth.
In a career shared between the university (fifteen years) and publishing (twenty) Jean-Luc Mercié has written widely on painting and photography. This monograph is his fourth book about Pierre Molinier, the master from Bordeaux.
Born 1900 in Agen (France), Pierre Molinier, surrealistic painter and photographer, a precursor to body art, died in 1976 after having thought out radical and pornographic artwork.
1985, Japanese
Softcover (w. acetate dust jacket), 128 pages, 33 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Bijutsu Shuppan-sha / Japan
$190.00 - In stock -
First edition of the incredible book of Japanese doll artist Simon Yotsuya, Doll Love / L'amour des Poupées, shot by Kishin Shinoyama, published in 1985 by Bijutsu Shuppan-sha, Tokyo. This stunning over-sized book is the finest photographic document of Simon's dolls created throughout his career, all dramatically shot by legendary Japanese photographer, and close friend of Yotsuya, Kishin Shinoyama, profusely illustrated in full colour gloss with each doll, including various angles, details, and display cases, accompanied by a section of Japanese texts by Tatsuhiko Shibusawa, Yoshiaki Tono, Minoruyoshioka, Shuzotakiguchi, and Kunio Iwaya, illustrated in b/w with portraits of Simon Yotsuya in his studio, his drawings and graphic works. Our favourite book on this magical artist.
Simon Yotsuya (b. 1944, Tokyo) started making dolls as a child, visiting exhibitions of dolls, and reads all the books he can find on the subject. In his mid-teens he visited Puppe Kawasaki, a doll maker and animator he greaty admired, devoting himself to the craft and becoming a poor high school student. In the early '60s, while working at a jazz coffee shop in Shinjuku, Yotsuya earned the nickname "Simon" (pronounced “Simone”), after his love for singer Nina Simone. He befriends Kuniyoshi Kaneko (painter) and Junko Koshino (fashion designer) and joins in the arts and literary scene. In 1965, he discovers the work of German Surrealist Hans Bellmer through an article authored by Tatsuhiko Shibusawa in the magazine “Shinfujin”, promptly abandoning his previous methods of doll-making to find his way as an artist, incorporating ball-joints into his dolls. Thereafter he becomes an admirer of Surrealism and immerses himself in the controversial Shibusawa's litterary works. In 1965, he also goes to see Tatsumi Hijikata's Butoh Performance for the first time. In the late 60s—early 70s Yotsuya pursued a parallel career to his doll-making as an actor and member of Juro Kara's legendary underground theater company Jokyo Gekijo, Situation Theater, regularly portraying a female doll. He appears in the movie "Diary of a Shinjuku Thief" directed by Nagisa Oshima with the actors of the Situation Theater, but by 1971 he leaves the stage to concentrate on his own work. Simon exhibited at Expo 1970 in Osaka, the Tokyo Biennale in 1974 and by the end of the decade had opened his own doll-making school in Harajuku.
Tatsuhiko Shibusawa (1928—1987), the author of the influential Bellmer article (and novelist, editor, art critic, and translator of Bataille and Marquis de Sade), become a life-long friend of Yotsuya's and his most important advocate, editing the first major book of Yotsuya's work, entitled Pygmalionisme, in 1985. Devastated by Shibusawa's death in 1987, Yotsuya found it impossible to work for nearly two years. He eventually found solace in the Eastern Orthodox Church and was inspired to make a series of angels, which he dedicated to Shibusawa, and straightforward images of Christ. Having carved out his own masterful and unique form of expression, today Yotsuya enjoys international renown as the first ball-jointed doll maker in Japan.
Very Good copy with light edge wear to cover and publisher's jacket.
1992, Japanese
Softcover, 192 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$90.00 - In stock -
Issue No.42 of the great SALE2 periodical from Tokyo Japan, founded in 1984 by Makoto Orui, who later became art director for Purple magazine in France and Rockin’on magazine in Japan. SALE2 was active for about 14 years during the 1980s—1990s, published regularly as a sort-of fanzine/journal/catalogue/pocket-book by Fiction, Inc., a specialty shop and publisher of fetish and erotica in Tokyo in the 1980-90s. With Orui's distinct design SALE2 developed an exclusive curated editorial set on ‘erotisism and its spiritual philosophy’, with each issue exploring different themes and features, heavy on fetishism and erotic art.
Issue No.42, the "Transformation" issue features collected writings and images around the themes of body transformation, transsexuality, including Pierre Molinier, Mari Akasaka, Kyoko Okazaki, Toyen, Hans Bellmer and Unica Zürn, Henri Maccheroni, Robert Chouraqui, Greybuck's The Equestrians illustrations, Sophia Lamar, plus loads of other images/catalogues of bondage and fetish related arts, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy with tanning to pages.
1995, Japanese
Softcover (w. dust jacket + obi), 130 pages, 20 x 15 cm
1st Edition, Out of print title / used / fine
Published by
Photo Musée / Tokyo
$110.00 - Out of stock
First, long-out-of-print, 1995 revised edition of Daido Moriyama's classic first photo book, Nippon Gekijo Shashincho (Japan, A Photo Theater), originally published in 1968, the year which also saw the launch of the influential Provoke magazine. This wonderful first book already demonstrates Moriyama’s trademark visual style, synonymous with Provoke, and features many of his most iconic early photographs. On invitation of legendary Japanese avant-garde theatre director and writer Shūji Terayama (1935—1983), Moriyama began photographing members of his experimental theatre troupe Tenjō Sajiki, a major phenomenon on the Japanese Angura ("underground") theater scene of the 1960s and 70s, adding shots of dwarf show dancers, strip clubs, street performers, fetuses in formaldehyde containers and other motifs and characters of late 1960's Japan captured in Daido's signature grain.
NF copy in NF dust jacket w/ NF obi.
1991, Japanese
Softcover (w. dust jacket + obi), 128 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Heibonsha / Tokyo
$65.00 - In stock -
Wonderful photo-book chronology of the world of Shūji Terayama (1935—1983) and his experimental theatre troupe Tenjō Sajiki (with Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, Fumiko Takagi, ...), a major phenomenon on the Japanese Angura ("underground") theater scene of the 1960s and 70s. Terayama's activities encompass a who's-who of the Japanese avant-garde arts and literature of the time. This book visually documents it all; the filmography, performances, installations, happenings, exhibitions, posters, publications, and all else that resonated from Japan’s most revered and provocative avant-garde film-maker and his collaborators. Profusely illustrated with hundreds of illustrations in colour, duo and b/w with Japanese commentary, biographies and chronology. A wonderful, visually mind-blowing reference for anyone interested in the work of Terayama, Tenjō Sajiki, Surrealist performance, or Japanese avant-garde underground (Angura) theatre.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. In 1967 Terayama founded Tenjō Sajiki with Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi, a Japanese experimental theater troupe. A major phenomenon on the Japanese Angura ("underground") theater scene, the group produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
Very Good—Near Fine
2025, English
Softcover, 100 pages, 21 x 15 cm
Ed. of 600 copies,
Published by
Noise Receptor / Melbourne
$17.00 - In stock -
Noise Receptor Journal Issue no.13 features long-form and details interviews with: The Black Maghreb, Born Erased, Old Tower, Wilt, Xn Recordings. Essay: Trading in the Currency of Culture: a post-industrial underground perspective. Dominion of Flesh 10 Years of Cloister Recordings Festival Report + photos. Reviews: 50+ detailed reviews. Artwork: cover and 10+ pages of original artwork by James P. Keeler (aka WILT).
Limited to 600 copies.
2024, English
Softcover, 100 pages, 21 x 15 cm
Ed. of 600,
Published by
Noise Receptor / Melbourne
$17.00 - In stock -
Noise Receptor Journal Issue no.12 features long-form and details interviews with: BJ Nilsen, Innere Front, No Guard, TeHÔM, Tone Generator & The Body Without Organs. The Society of Control: in the Age of Artificial Intelligence by Tone Generator (aka Dominic Guerin). Hospital Festival Osaka show report + photos. CLUTCH 2 show report + photos. Reviews: 50 detailed reviews. Artwork: cover and 9 pages of artwork by Tone Generator (aka Dominic Guerin).
Limited to 600 copies.