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.
1970, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tenjō Sajiki / Tokyo
$260.00 - In stock -
Very rare copy of Angura (Underground Theatre) issue 3, 1970, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With gorgeous graphic design and (Aleister Crowley) cover by graphic designer Heikichi Harata, this issue's special feature is ‘Eros and Theater’, edited by Shūji Terayama and Masahiko Akuta with contributions by Terayama, photographer Hajime Sawatari, writer Taruho Inagaki, director Takahiko Iimura, anthropologist Masao Yamaguchi, playwright Yasunari Takahashi, director and cinematographer Sakumi Hagiwara, film director Nobuhiro Kawanaka, playwright Rio Kishida, and many others. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
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. 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.
2012, English
Softcover, 120 pages, 28 x 21.5 cm
1st Edition, Out of print title / as new
Published by
Creation Books / London
$45.00 - In stock -
FRACTURED EYE was a large-format annual film journal, edited by well-known authors Stephen Barber and Jack Hunter, who between them have produced around 50 books on global cinema and cultural history. FRACTURED EYE does not concern itself with either "mainstream" or "cult" cinema, but rather takes its cue from Amos Vogel's seminal 1974 study Film As A Subversive Art. Subjects covered by FRACTURED EYE Volume One include illegal film pornography in the 1970s, execution film documents of WW2, film documents of extreme performance art, subversive film documentaries, unfilmed surrealist film scenarios, revolutionary Japanese cinema of 1969, the origins of film projection technology, films of urban demolition, surgical films, and various works of renegade, politically prohibited or transgressive cinema. The book is heavily illustrated with unusual and often disquieting photographs, and is recommended for adult readers only. Subjects covered include Vienna Aktion Cinema, Tokyo 1969, Tatsumi Hijikata, Pierre Guyotat, Koji Wakamatsu, Jean Painlevé, Cosey Fanni Tutti, Jean Vigo, Luis Buñuel, Skladanowsky Brothers, Georges Franju, and much more. Only one volume was published.
1974, English
Softcover (staple-bound), 64 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / good
Published by
Khasmik Enterprises / Annandale
$65.00 - Out of stock
Rare copy of the first volume of Khasmik Quarterly, edited by Stefanie Bennett and Margaret McMann and published in 1974 by important small poetry imprint, Khasmik Enterprises, operating from Annandale, NSW. Contributors include: Kate Jennings, Philip Roberts, Ken Bolton, Gary Oliver, Gaby, Robert Adamson, Carol Novack, Rae Desmond Jones, Stefanie Bennett, π.ο., Colleen Burke, Graham Rowlands (reviews Vikki Viidikas' Condition Red), and Cheryl Adamson.
Good—VG copy with tanning, light general wear from age, ex-libris bookplate inserted from collection of Donald Fulton Hall.
1974, English
Softcover (staple-bound), 72 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
The Ear in a Wheatfield / North Fitzroy
$160.00 - In stock -
Very rare copy of The Ear in a Wheatfield - Earth Ship, second series No. 5, February 1974, edited by English-Australian poet Kris Hemensley and hand-printed by Retta Hemensley on the Hemensley-Reneo in North Fitzroy, Victoria. An important Australian small-press literary journal published by Hemensley between 1973—1976, The Ear was a vital mouthpiece for experimental poetry, bringing together international contributors (featuring many UK friends associated with Ambit, Grosseteste Review, Bananas, Curtains, and the American L=A=N=G=U=A=G=E poets, etc), with writers in Australia operating outside the mainstream. This issue is packed with contributions by Geoff Bowman, Abigail Mozley, Colin Symes, John Millett, Larry Eigner, Trevor Reeves, Michael Palmer, John Thorpe, Maria Gitin, John Riley, Bill Fell, Franco Beltrametti, Roger McDonald, Jennifer Maiden; correspondence: James Koller, Jas Duke, a report on "New Poetry in New Zealand" by Trevor Reeves, new book and magazine reviews (from Paul Buck's Curtains to Vicki Viidikas' Condition Red), plus special review section of Japanese poetry titles, and much more, all processed typescript by Hemensley and stapled.
Kris Hemensley (b. 1946) is an English-Australian poet who has published around 20 collections of poetry. Through the late 1960s and '70s he was involved in poetry workshops at La Mama, and edited the literary magazines Our Glass, The Ear in a Wheatfield, and others. The Ear played an important role in providing a place where poets writing outside what was then the mainstream could publish their work. In 1969 and 1970 he presented the program Kris Hemensley's Melbourne on ABC Radio. In the 1970s he was poetry editor for Meanjin. He and Retta Hemensley ran the Collected Works Bookshop in the Nicholas Building, Melbourne, until 2018.
Very Good well-preserved copy, light age/tanning, uncreased margin.
1972, English
Softcover (staple-bound), 46 pages, 23 x 14 cm
1st Edition, Out of print title / used / good
Published by
Dark Areas / Adelaide
$45.00 - In stock -
Rare copy of Dark Areas, a small press poetry zine founded in Adelaide in 1971 by Sandy Clark and Jane Donald. This issue (No 5, May 1972) features contributions from a wealth of Australian and international poets, including Jerry Almoots, lau Bradtke, Denise Fraser, Steve Sneyd (U.K.), David McCandless, Andrew Darlington (U.K.), Sally Day, Steve Davey, R. Preston (VIC), Andrew Darlington (U.K.), Phillip Warren (N.S.W.), Evan Rainer (N.S.R.), Annette Hauschild, Rae Desmond Jones (N.S.W.), Joshua Hudd, Colleen McPharlin, Steve Evans, Ralph Miller (A.C.T), Glen Donnellan, Christopher Robin (Qld), Peter, Catherine (N.S.W.), Tan Zing Hai, Stuart Flavell (A.C.T.), Larry Buttrose, Les Davidson, Peter Steven Holmes, Peter Finch (Wales), Peter Murphy (Vic), Lawrence Ferlinghetti (U.S.), Judi Evans, Gary R. Langford (N.Z.), Karen Hughes, Murchie Ewing (Qld), Sue Parham, Alexandra Seddon (Vic), Christopher Polinitz (U.K.), Mark Burford, Rob Andrew (N.S.W.), Plantman (Qld), Graham Rowlands, John Peter Horsam, Alex, Sue Grocke, Sue Germein, Sandy Clark, Rae Desmond Jones, Leanne Temme, D.S. Long (N.Z.), Jane Southcott, Derek Holmes (Vic), Kathie Muir, Roderick Gibson, R. Trinca, Eric Beach (Vic), John Coleman, Donna, Jane Donald, Keith Wilson, plus illustrations throughout, and cover artwork by David Hall. Includes an ex-libris paste-in of "Francis Alfred Wilson".
Good—VG copy, light wear and tear to extremities. Age tanning.
1957, English
Softcover (staple-bound), 34 pages, 26 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Melbourne University Film Society / Melbourne
$15.00 - In stock -
Annotations on Film was a journal published by the Melbourne University Film Society to accompany their film programme, aimed at presenting films in Melbourne in the medium they were created and providing a critical reading of them for an independent, membership-based film society. Starting in 1948, the Melbourne University Film Society (MUFS) changed its name to Cinémathèque in 1984 and continues to this day in Melbourne. A written accompaniment to their programme can be seen in the form of the current-day online journal Senses of Cinema.
This scarce early journal from the Melbourne University Film Society features writings on Jean Renoir's A Day In The Country, Humphrey Jennings' Fires Were Started, Sergei Eisenstein, Glauco Pellegrini's Experience in Cubism, Frank R. Strayer's And Then Were Four, Joan Long's In Harbour, Lewis Jacob's The World That Nature Forgot, Lotte Reiniger's Papageno, Norman McLaren's Hen Hop, Vittorio De Sica's Shoe-shine, Orson Welles' The Lady From Shanghai, Joseph L. Mankiewicz's Julius Caesar, Vincente Minnelli's The Band Wagon, Robert Hamer's Kind Hearts and Coronets, G. W. Pabst's Kameradschaft, and many more, and was published in Melbourne in 1957.
Good copy, nicely preserved with only light wear, tanning and rust to staple.
1958, English
Softcover (staple-bound), 18 pages, 26 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Melbourne University Film Society / Melbourne
$15.00 - In stock -
Annotations on Film was a journal published by the Melbourne University Film Society to accompany their film programme, aimed at presenting films in Melbourne in the medium they were created and providing a critical reading of them for an independent, membership-based film society. Starting in 1948, the Melbourne University Film Society (MUFS) changed its name to Cinémathèque in 1984 and continues to this day in Melbourne. A written accompaniment to their programme can be seen in the form of the current-day online journal Senses of Cinema.
This scarce early journal from the Melbourne University Film Society features writings on Charlie Chaplin's The Gold Rush, Abraham Polonsky's Force of Evil, Alfred Hitchcock's The Trouble with Harry, Carl Theodor Dreyer's Vampyr, Raymond Longford's On Our Selection, Humphrey Jennings' A Diary for Timothy, Terry Bishop's Daybreak in Udi, John Alderson's El Dorado, plus Charlie Chaplin's Between Showers, Dough and Dynamite, The Champion, Police, Behind the Screen, The Rink, and essays on Chaplin and Silent film and Chaplin's early works, plus more. Published in Melbourne in 1958.
Good copy, nicely preserved with only light wear, tanning and rust to staple.
1991, English
Softcover, 276 pages, 242 x 16 cm
1st Edition, Out of print title / used / good
Published by
Yale University Press / New Haven
$35.00 - In stock -
Yale French Studies, Number 79, 1991, Edited by Claire Nouvet, featuring the essays of George Bataille, Maurice Blanchot, Jean-Luc Nancy, Cathy Caruth, and many more. Cover artwork by Artaud.
"How does ethics affect literature and literary analysis? In what ways do literature and literary analysis rethink questions that traditionally belong to the field of ethics? What role does the notion of ethics play in the writing process? How can we situate and reassess the return of ethics in contemporary theories? The contributors to this issue among them writers, philosophers, literary critics, and psychoanalysts-evaluate the relationship between ethics and literature. Their diverse approaches range from a discussion of notions of humanity and responsibility to a reading of the Holocaust as it is explored in the film Shoah."
Good copy, general wear.
1980, English
Softcover (w. insert), 142 pages, 21 x 29 cm
1st Edition, Out of print title / used / very good
Published by
LIP / Melbourne
$50.00 - In stock -
The incredible book-sized 1980 edition of Melbourne's great LIP journal. Published out of Carlton between 1976-1984, LIP encapsulated Australian feminist artistic practice of the period, publishing articles and interviews by women on women in film, sound, theatre, painting, photography, poetry, criticism, activism, journalism, publishing, sculpture, design, education, and much more.
In this issue:
Editorial; MEDIA : Heralding Women : A Visual Essay by Lesley Dumbrell, Freda Freiberg and Elizabeth Gower; The Women At Work Kit - a discussion with Judy Munro, Sylvie Shaw and Ponch Hawkes, by Jeannette Fenelon; Shoulder to Shoulder and Up Hill; The Way by Julie Copeland; The Coming Out Show : Five Years On by Julie Rigg; Nancy Dexter : In Her Own Accent by Elizabeth Owen; Fiona McDougall press photographer; Child's Image, Women's Hands by Barbara Hall; ART : Memories of Grace Crowley by Janine Burke, Ian North, Frank and Margel Hinder; "Mothers' Memories, Others' Memories" by Vivienne Binns; The Dinner Party - Introduction by Isabel Davies; Judy Chicago And The Dinner Party by Ailsa O'Connor; 'The Coming Out Show' discusses 'The Dinner Party'. Transcribed and edited by Isabel Davies; The Adelaide Women's Art Movement by Jane Kent and Anne Marsh; Adelaide Women's Performance Month, November 1979; River Murray Project by Bonita Ely; Joy Hester by Janine Burke; Janet Dawson - Painter, interviewed by Lesley Dumbrell; Monday To Monday by Maxienne Foote; Ethel Carrick (Mrs. E. Phillips Fox) by Margaret Rich; The Male Nude, Margaret Walters interviewed by Julie Copeland; Stella Sallman photographs; Don't Believe I'm An Amazon - Ulrike Rosenbach talking with Elizabeth Gower, Margaret Rose and Janine Burke, transcribed by Margaret Rose; Tertiary Visual Arts Education Study and Report by Alison Fraser; Holos - Whole, Graphos - Picture, The Work Of Margaret Benyon by Catherine Peake; Ceramic Sculpture - Maggie May; Artist-Decorated Trams - Statements by Erica McGilchrist and Mirka Mora on the tram design project, Melbourne and Metropolitan Tramways Board; THEATRE/PERFORMANCE : At Home - A series of Five Solo Performances by Lyndal Jones (1977-80) documentation by Lyndal Jones and Suzanne Spunner; Beyond Glitter - The Role Of The Female Performer as seen by Robyn Archer in "A Star is Tom" by Suzanne Spunner; Wimmin's Circus by Katie Noad; Jeannie Lewis interviewed by Christine Johnston; Failing In Love by Ruth Maddison; By A Bamboo Blind : Jenny Kemp, writer and director of Sheila Alone interviewed by Suzanne Spunner; Brisbane Womens Theatre Group by Barbara Allen; FILM : The Women's Film In The Post-Haskell Era by Freda Freiberg; Making A Career Of Feminism by Suzanne Spurner; How Will We Learn To Remember Tomorrow? 'A Catalogue of Independent Women's Films' reviewed by Barbara Hall; The Problems Of Pluralism : Women's Films And Feminist Films by Kate Legge; Interview With Norma Disher; Margot Nash & Margot Oliver; Roma 'Just An Ordinary Life' by Jan Macdonald
Insert : Crosswords by Elizabeth Gower
Front Cover : Erica Mc Gilchrist
Back Cover : Mirka Mora
Co-ordinator : Elizabeth Gower
LIP Collective members: Annette Blonski, Janine Burke, Isabel Davies, Suzanne Davies, Lesley Dumbrell, Jeannette Fenelon, Freda Freiberg, Elizabeth Gower, Barbara Hall, Christine Johnston, Elizabeth Owen, Cathy Peake, Suzanne Spunner.
VG copy.
1996, English
Softcover, 192 pages, 24.5 x 17 cm
1st Edition, Out of print title / used / very good
Published by
Creation Books / London
$40.00 - Out of stock
Published in 1996, Necronomicon: Book one continues the singular, thought-provoking exploration of transgressive cinema begun by the much-respected and acclaimed magazine of the same name. The transition to annual book format has allowed for even greater depth and diversity within the journal's trademarks of progressive critique and striking photographic content. Includes: Jean Rollin: The surreal and the sapphic Texas Chainsaw Massacre: Exploitation or modern fairytale Barbara Steele: Icon of S/M horror Frightmare: Peter Walker's psycho-delirium classic Marco Ferreri: Sadean cinema of excess Deep Throat: Pornography as primitive spectacle Dario Argento: Tortured looks and visual displeasure Last Tango in Paris: Circles of sex and death H P Lovecraft: Visions of crawling chaos Witchfinder General: Michael Reeves' classic of visceral violence Herschell G. Lewis: Compulsive tales and cannibal feasts Evil Dead: From slapstick to splatshtick * And much more....
VG copy.
1982, Japanese
Softcover, 320 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$50.00 - In stock -
SM Fan Special Edition March 1982, published by Tsukasa Shobo, featuring Dan Oniroku, Gekko Hayashi, Tadao Chigusa, Juan Maeda, Kaname Ozuma (Yoko Ozuma), Takashi Kibe, Yuki Haruhiko, to name a few. Cult classic vintage Japanese BDSM and Kinbaku (Japanese bondage) magazine, each issue of SM Fan featured almost over 300 pages of Japan's most depraved fetish fiction, littered with illustrations unseen elsewhere, including many historical pieces, plus full-colour glossy bondage photo-features, artwork galleries of fanstastic erotic art and manga, fold-outs, articles, interviews, reviews, letters, classifieds, ads, and much more. SM Fan was at the forefront of showcasing the artwork and photography by some of Japan's biggest names in the field of erotic art, including Namio Harukawa, Kaname Ozuma, Gekko Hayashi, Yoshifumi Hayashi, Toshio Saeki, and Ken Katayama, alongside the likes of masters such as Yoshitoshi Tsukioka.
18+ ONLY
Good—VG copy with tanning.
1997, Japanese
Softcover (staple-bound), 220 pages, 21 x 15 cm
1st Edition, Out of print title / used / average
Published by
Tsukasa Shobo / Tokyo
$45.00 - Out of stock
No. 32 (May 1997) of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s.
"Fetish, bondage, psycho eros, and body arts".
Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV/pink film idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. This issue includes contributions by ORGANIZER's Kyoshi Ikejiri, Masami Akita (Merzbow), Yokoyama Kouji, Mikio Tanaka, heavy metal artist Wes Benscoter, costume designer Yukiko, continued special feature on Japanese cyberpunk-horror film Rubber's Lover by Shozin Fukui (964 Pinocchio), plus hentai sex, diary of a female bondage artist, Practical Scat University, trans men, coverage of fetish film, fetish parties, brothels, bizarre photo galleries, etc. Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
18+ ONLY
Average copy due to some scunching to the lower par of the back cover and last few pages, otherwise Good copy rest.
1992, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Shishobo / Tokyo
Tsukasa Shobo / Tokyo
$65.00 - Out of stock
May 1992 issue of Bizarre Magazine, Japan's first glossy magazine devoted fully to all things "bizarre culture" and the new fetish subculture that exploded in the 1990's, published by manga (and SM Fan) publisher Tsukasa Shobo from 1990—2000s. "Fetish, bondage, psycho eros, and body arts". Profusely illustrated throughout with glossy colour and b/w photoshoots styled with fetish fashion materials and costume — models and Japanese AV idols in rubber, pvc, leather, boots, high heels, corsets, etc. covering all manner of fetishes and cos-themes from cyberpunk to medical, body art, cross-dressing, lesbianism, fem-dom, scene reports from around the world, dominatrix profiles and interviews, lots of manga, articles, stories, advice columns, DIY tutorials, and packed with wild ads for sex clubs, dungeons, bars, bookstores, video catalogues, toys, fashions, reviews of cult books and film, european imports, classifieds, all heavy with illustrations and hundreds, if not thousands of photographs. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Junji Ito, Masami Akita (Merzbow), Nao Saejima, Seiu Ito, Domu Kitahara, Issei (Kobe Cannibal) Sagawa, Yukinori Fukushima, Ryuko Yano, Mika Mori, Hiroko Mugibayashi, and many more... Much like SM Sniper, Bizarre Magazine favoured the exploration of new innovations of fetish and underground sex culture, emphasising the work of the models, stylists, make-up artists, and fashion designers, as much as the writers or photographers, encompassing the entire "new wave" of SM counterculture embedded in underground music, film, fashion and visual art at the dawn of the 90's.
Cover statement: "BIZARRE is not S&M. For the above reason, we produced this magazine. This magazine is the first magazine of BIZARRE in Japan. BIZARRE is based on FETISHISM. Bondage, too, is a kind of fetishism in the field of BIZARRE. Costume and material are the most important. For instance, they are leather, rubber, P.V.C. and satin corset, high heels, boots and so on."
18+ ONLY
Very Good copy.
1984, Japanese
Softcover, 208 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
The Gay / Tokyo
$60.00 - In stock -
Rare copy of the February 1984 issue 22 of Tokyo's The Gay, one of the best and lesser-known of Japan's gay magazine scene of the 1970s—1980s, with this issue including a special feature on the reality of the gay scene in New York Manhattan, New York interviews with editors of The Advocate, Christopher Street, and The National Gay Task Force Report (NGTF founded by gays rights activist Bruce Voeller in 1973), an exclusive interview with Japanese cinematographer Yoshio Miyajima, and much more, alongside explicit nude photo shoots of young Japanese men in colour and b/w, illustrations, gay fiction, news, movie reviews, ads, classifieds, articles, essays and other interviews. Packed!
Very Good copy.
1986—1994, English
Softcover (12 issues), approx 50-80 pages ea., 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
International Synergy Institute / Los Angeles
$600.00 - In stock -
"A thrice yearly exploration of ambiguous borders and dynamic (intellectual/artistic) frontiers."
Exceptionally rare lot of 12 issues (1986—1994) of the trail-blazing subscription-only one-of-a-kind journal published by the International Synergy Institute, a intermedia think-tank active in Hollywood between 1986—1987. IS was founded by American actress and philanthropist Andra Akers (Charlie's Angels, Dallas, Dukes of Hazzard...), edited by experimental composer, researcher and Harry Partch Ensemble member David Dunn, with a cast of incredible contributors spanning these issues that includes media theorist Gene Youngblood (Expanded Cinema...), Australian composer, poet and performer Chris Mann, American ethnobotanist Terence McKenna, American artist Bill Viola, American landscape architect Bonnie Sherk, parapsychologist Rupert Sheldrake, mathematician Ralph Abrahams, composer Kenneth Gaburo, Australian experimental composer Warren Burt, early media artist visionaries Kit Galloway and Sherrie Rabinowitz (Mobile Image, the Electronic Café...), Science Fiction theorist, philosopher and writer for Marvel comics Allyn B. Brodsky, American composer and writer Elaine Barkin, visionary Czech author Lukáš Tomin, aeronautical engineer and astronaut Russell Schweickart, mathematician and polymath Tim Poston, climate crisis artists Newton and Helen Mayer Harrison, American composer John Bischoff, cultural historian William Irwin Thompson, ecological philosopher and author Boleslaw Rok, essayist and activist Tomaž Mastnak, Chilean biologist and philosopher Francisco Varela, artist Michael Kalil, systems theorist Will McWhinney, percussionist and composer Stuart Saunders Smith, mathematician Gottfried Mayer-Kress, alternative broadcaster Jay Levin, British-American futurist Hazel Henderson, actress Debra Clinger (The Love Boat, The Krofft Supershow, Midnight Madness, The Brady Bunch Variety Hour...), musician Mark Trayle, artist Sheila Pinkel, VFX pioneer Mimi Gramatky (LOST, Miami Vice, Star Trek, Tron, Damnation Alley...), sonic healer Jill Purce, robot dance choreographer Margo K. Apostolos, American psychedelic artist Alex Grey, social critic and historian Morris Berman, futurist Riane Eisler, poet James Bertolino, British zoologist, anthropologist and author John Heathorn Huxley, multi-media artist Todd Siler, American philosopher of science Ervin László, Budapest dissident magazine Magyar Narancs, and more.
Issues present: #0, #1, #2, #3, #4, #5, #9, #10, #11, #12, #13, #14 (12 issues total, not all pictured)
"INTERNATIONAL SYNERGY consists of a global network of vanguard artists, scientists, and meta-physicians who are united by a deep sense of commitment to crossing the boundaries of their individual disciplines. Integral to this awareness is a reconciliation between advanced technological resources and a sense of the planet's sanctity. INTERNATIONAL SYNERGY is dedicated to the premise that such an understanding can form the basis of a creative matrix for responsible action in the information age."
"At this hinge of history, it seems appropriate that we should publish a journal where the passion of the individual scientist/artist can meet in sovereign association with global concerns — spinning the wheel of knowledge so that each of us can create our own theoretical magic." [...] "I am deeply moved by the creative commonwealth in this community, filled with explorers of topology, morphology, chaos dynamics, cognition, mind video, the revisioning of nature and art, telecommunications, sonics, cybernetics, cultural history, fractal politics, and what it now means to be deeply human. The provocative interaction of these ideas cannot help but to create a new and uniquely meaningful story. Come with us."—Andra Akers
Most Good—Very Good, with a couple of issues Average (mostly due to cover rubbing or creasing), all with light wear/age.
1985—1990, English
Softcover (broadsheet folded 4 times), 30 x 21 cm (folded)
1st Edition, Out of print title / used / good
Published by
Nosukumo / Melbourne
$150.00 - Out of stock
Rare lot of 3 issues of short-lived Melbourne experimental poetry broadsheet, The Carrionflower Writ, 'An art and literary broadsheet issued on an irregular basis', edited by Javant Biarujia and published by Biaruji's own Nosukumo Press, Melbourne, between 1985—1990. Each issue takes the form of a large fold-out broadsheet, two-colour printed on differing paper stocks, full of experimental type-setting and beautiful illustrations and devoted to Australian 'poetry on the margins' Poets included throughout its short history included Javant Biarujia, Ian Birks, Kris Hemensley, Chris Mann, Raimondo Cortese, Pete Spence, Jurate Sasnaitis, C.E. Roberts, Philip Sipp, Adrian Rawlins, amongst others.
"Javant Biarujia is an iconoclastic Australian poet, at once an unparalleled linguistic confabulator and an exponent of Melbourne avant-garde poetics since the 1970s. Biarujia's work marks out its own historical forebears and familiars in a way that I believe — although absolutely in association with contemporary histories of poetry such as American Language poetry, Australian bricolage, and European surrealism — happens to hybridise baroque linguistic ingenuity with deconstructive collage and games of poetic reality that defy straightforward historical alignment"—Corey Wakeling, Cordite Poetry Review
Good copies all with degrees of tanning and light wear. Folded as issued.
1986, English
Softcover (staple-bound), 24 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
International Synergy Institute / Los Angeles
$150.00 - Out of stock
"A thrice yearly exploration of ambiguous borders and dynamic (intellectual/artistic) frontiers."
Exceptionally rare, inaugural issue #0 of the trail-blazing subscription-only journal published by the International Synergy Institute, a intermedia think-tank active in Hollywood between 1986—1987. IS was founded by American actress and philanthropist Andra Akers (Charlie's Angels, Dallas, Dukes of Hazzard...), edited by experimental composer, researcher and Harry Partch Ensemble member David Dunn, with a cast of contributors for this first issue including media theorist Gene Youngblood (Expanded Cinema...), parapsychologist Rupert Sheldrake, VFX pioneer Mimi Gramatky (LOST, Miami Vice, Star Trek, Tron, Damnation Alley...), mathematician Ralph Abrahams, composer Kenneth Gaburo, and poet Chris Mann, and more.
"INTERNATIONAL SYNERGY consists of a global network of vanguard artists, scientists, and meta-physicians who are united by a deep sense of commitment to crossing the boundaries of their individual disciplines. Integral to this awareness is a reconciliation between advanced technological resources and a sense of the planet's sanctity. INTERNATIONAL SYNERGY is dedicated to the premise that such an understanding can form the basis of a creative matrix for responsible action in the information age."
"At this hinge of history, it seems appropriate that we should publish a journal where the passion of the individual scientist/artist can meet in sovereign association with global concerns — spinning the wheel of knowledge so that each of us can create our own theoretical magic." [...] "I am deeply moved by the creative commonwealth in this community, filled with explorers of topology, morphology, chaos dynamics, cognition, mind video, the revisioning of nature and art, telecommunications, sonics, cybernetics, cultural history, fractal politics, and what it now means to be deeply human. The provocative interaction of these ideas cannot help but to create a new and uniquely meaningful story. Come with us."—Andra Akers
Very Good copy, light wear/age.
1986, English
Softcover (staple-bound), 52 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
International Synergy Institute / Los Angeles
$150.00 - In stock -
"A thrice yearly exploration of ambiguous borders and dynamic (intellectual/artistic) frontiers."
Exceptionally rare, issue #1 (after the inaugural #0) of the trail-blazing subscription-only journal published by the International Synergy Institute, a intermedia think-tank active in Hollywood between 1986—1987. IS was founded by American actress and philanthropist Andra Akers (Charlie's Angels, Dallas, Dukes of Hazzard...), edited by experimental composer, researcher and Harry Partch Ensemble member David Dunn, with a cast of contributors for this issue including early media artist visionaries Kit Galloway and Sherrie Rabinowitz (Mobile Image, the Electronic Café...), media theorist Gene Youngblood (Expanded Cinema...), Science Fiction theorist, philosopher and writer for Marvel comics Allyn B. Brodsky, aeronautical engineer and astronaut Russell Schweickart, cultural historian William Irwin Thompson, systems theorist Will McWhinney, actress Debra Clinger (The Love Boat, The Krofft Supershow, Midnight Madness, The Brady Bunch Variety Hour...), VFX pioneer Mimi Gramatky (LOST, Miami Vice, Star Trek, Tron, Damnation Alley...), and more.
"INTERNATIONAL SYNERGY consists of a global network of vanguard artists, scientists, and meta-physicians who are united by a deep sense of commitment to crossing the boundaries of their individual disciplines. Integral to this awareness is a reconciliation between advanced technological resources and a sense of the planet's sanctity. INTERNATIONAL SYNERGY is dedicated to the premise that such an understanding can form the basis of a creative matrix for responsible action in the information age."
"At this hinge of history, it seems appropriate that we should publish a journal where the passion of the individual scientist/artist can meet in sovereign association with global concerns — spinning the wheel of knowledge so that each of us can create our own theoretical magic." [...] "I am deeply moved by the creative commonwealth in this community, filled with explorers of topology, morphology, chaos dynamics, cognition, mind video, the revisioning of nature and art, telecommunications, sonics, cybernetics, cultural history, fractal politics, and what it now means to be deeply human. The provocative interaction of these ideas cannot help but to create a new and uniquely meaningful story. Come with us."—Andra Akers
Very Good copy, light wear/age.
1989—1990, English
5 publications, softcover (staple-bound + rubber-stamped), approx 20 pages ea., 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Cerebral Shorts / Elwood
Irregular Brain Post / Elwood
$180.00 - Out of stock
Rare lot of 5 issues of Convolusions: Of the Irregular Brain Post — dating between July 1989—January 1990. Rare Visual Poetry / Mail Art zine issued by post in the late 1980s—early 1990s by Australian visual poets Cerebral Shorts and Pete Spence, each issue packed with border-busting international postal network contributions of photocopy artworks (collages, photographs, etc.) and texual collage/poetry, prose works, with notes, "missing peoples", radical texts, and classifieds/call-outs for other international mail-art publications. Contributors amongst these issues include: Shozo Shimamoto (Japan), Satan Panonski (Jugoslavia), Julie Clarke-Powell (Australia), Guy Bleus (Belgium), Ry Nikonova (USSR), STOP AIDS (USA), Ivica Čuljak (Yugoslavia), Géza Perneczky (West Germany), Monty Cantsin (Canada), David Powell (Australia), Ruggero Maggi (Italy), Shaun Robert (England), Jonas Nekrašius (USSR), Pete Spence (Australia), Emilio Morandi (Italy), Sándor Fodor (Romania), Miroslav Janoušek (Czech), Javant Biarujia (Australia), to name a few... Back cover of each issue features multi-coloured original rubber stamp/print gocco art. An important piece of the very under-documented Melbourne visual poetry / mail art “scene”.
Based in Kyneton, Victoria, Pete Spence (b. 1946) has been internationally active in Mail Art, Visual Poetry, Experimental Film, and Lyric Verse throughout the 1980s—2000s, founding Post Neo Publications in 1984 to publish works by Luc Fierens, Hannah Weiner, Berni Janssen, Alex Selenitsch, and others. His own first book, FIVE Poems, was published in 1986 by Nosukomo. For over four decades he has been quietly pursuing his own direction in this multiplicity of art forms but in particular in his witty, idiosyncratic, entertaining poetry.
Good—VG copy, rusting to one staple.
1969, Japanese / French
Softcover, 228 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$110.00 - In stock -
Revue de Érotologie, Homosexualité, Sadisme, Masochisme, Fétischisme, Narcissime, Infantilisme, Magie, Occultisme, Humour Noir, Complexe Psychisme. What more could you ask for? Le Sang Et La Rose is a masterpiece of the Japanese underground. A groundbreaking, powerful, yet short-lived Japanese arts and literary journal published in Tokyo from late 1968—mid 1969, published in a total of four luxurious, now collectible, volumes. The first three issues were edited by Tatsuhiko Shibusawa (1928—1987), a legendary, controversial Japanese novelist, art critic, translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade, and specialist in medieval demonology. The importance of this magazine to the Japanese avant-garde and radical culture cannot be overstated.
Born from a period of political, social and economical turmoil in Japan, Le Sang Et La Rose may be understood as a emblematic distillation and product of the late ‘60s student rebellion and anti-authoritarian underground culture. Wilfully politically subversive, the publication drew upon a vast range of perspectives - from criticism, literature, obscure esoteric sciences, art, eroticism, radical avant-garde and a historical-rooted Japanese counterculture; featuring literature, theory, art, photography, illustration and graphic design from the most innovative and subversive Japanese and international (predominately French) artists, authors and critics, spanning the themes above. As instigator, Tatsuhiko Shibusawa in effect formulated the magazine’s design to be a spiritual and political operative that would weaponize its readers minds. This stance was made clear in the 1969 manifesto text — "My 1969" — in which Shibusawa discuss' how he perceived the ‘60s as being the age of ideas, ideas as weapons, and outlined a distain towards systems of power, moralism, State oppression, sanitised and harmless liberalism, dogmatic academic sciences and an outright distrust for ideological, progressive literary scholars who advocate "freedom of expression", but have never caused friction with the judicial power. The magazine sketched out an aim to push towards a new kind of personal freedom, intellect, autonomy and moral compass. Here, the concept of ‘erotism’ — as discussed by Georges Bataille in his highly influential 1957 book "Erotism: Death and Sensuality" — acts as a critical force.
Issue no. 2 includes photographic features by Yasuhiro Yoshioka and Yoshihiro Tatsuki, the artwork of French decorator of department store mannequins and surrealist Sunday painter Clovis Trouille, Venus in Furs erotic photo shoot by Yasuhiro Ishimoto, Yokoo Tadanori, Hans Bellmer, Leonor Fini, Alberto Martini, Félicien Rops, Rene Magritte, an incredible feature "Machine for Murder" with art by Hiroshi Nakamura, Tomi Ungerer, Koichi Tanigawa, Osamu Tsukasa, Tatsuo Ikeda, Marcel Duchamp, Seiichi Horiuchi, and others, an article on the erotica of Ukiyo-e with a fold-out colour three panel poster, the fully illustrated museum supplement on Demonology by Tatsuhiko Shibusawa with artworks throughout history, texts by Apollinaire, Burroughs, Mutsuo Takahashi, articles on laws pertaining to homosexuality, Kama Sutra, shoe fetishism, and much more.
Tatsuhiko Shibusawa (1928—1987), was a well-known and controversial Japanese novelist, art critic, and translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defense, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa, whose essays on black magic, demonology and eroticism were popular reading in Japan, and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
Very Good copy. Light general tanning/wear.
1969, Japanese / French
Softcover, 232 pages, 23 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Tensei Shuppan / Tokyo
$110.00 - In stock -
Revue de Érotologie, Homosexualité, Sadisme, Masochisme, Fétischisme, Narcissime, Infantilisme, Magie, Occultisme, Humour Noir, Complexe Psychisme. What more could you ask for? Le Sang Et La Rose is a masterpiece of the Japanese underground. A groundbreaking, powerful, yet short-lived Japanese arts and literary journal published in Tokyo from late 1968—mid 1969, published in a total of four luxurious, now collectible, volumes. The first three issues were edited by Tatsuhiko Shibusawa (1928—1987), a legendary, controversial Japanese novelist, art critic, translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade, and specialist in medieval demonology. The importance of this magazine to the Japanese avant-garde and radical culture cannot be overstated.
Born from a period of political, social and economical turmoil in Japan, Le Sang Et La Rose may be understood as a emblematic distillation and product of the late ‘60s student rebellion and anti-authoritarian underground culture. Wilfully politically subversive, the publication drew upon a vast range of perspectives - from criticism, literature, obscure esoteric sciences, art, eroticism, radical avant-garde and a historical-rooted Japanese counterculture; featuring literature, theory, art, photography, illustration and graphic design from the most innovative and subversive Japanese and international (predominately French) artists, authors and critics, spanning the themes above. As instigator, Tatsuhiko Shibusawa in effect formulated the magazine’s design to be a spiritual and political operative that would weaponize its readers minds. This stance was made clear in the 1969 manifesto text — "My 1969" — in which Shibusawa discuss' how he perceived the ‘60s as being the age of ideas, ideas as weapons, and outlined a distain towards systems of power, moralism, State oppression, sanitised and harmless liberalism, dogmatic academic sciences and an outright distrust for ideological, progressive literary scholars who advocate "freedom of expression", but have never caused friction with the judicial power. The magazine sketched out an aim to push towards a new kind of personal freedom, intellect, autonomy and moral compass. Here, the concept of ‘erotism’ — as discussed by Georges Bataille in his highly influential 1957 book "Erotism: Death and Sensuality" — acts as a critical force.
Issue no. 3 (with cover by Bronzino, 1554) includes full-colour photographic feature by Kishin Shinoyama ("Virgin In Uniform" featuring models/artists Angela Asaoka, Akaji Maro, Yoko Ashikawa) and beautiful Shomei Tomatsu photo feature ("Scoptophilia"), the artwork of the great French cross-dressing painter-photographer Pierre Molinier, texts by Jirō Kawamura, Yumiko Kurahashi, Taruho Inagaki ("Memories of Hemorrhoids or "New Tsurezuregusa"), Akiyuki Nosaka ("Dear Penis, Goodbye"), Minoru Minamihara ("The Mystic Thought of Love in the Case of Jakob Böhme"), Takiji Kobayashi, The Fictitious Garden of Babylon by Tatsuhiko Shibusawa, Tsunekazu Murata ("Witch's Ax : Concerning Heresy in Medieval Europe"), translation of Franz Kafka "Metamorphosis" illustrated by Franco Gentilini, recent research on homosexuality by film critic Jin'ichi Uekusa, Kama Sutra, more Gay (Danshoku) Japanese Theater history, Marquise de Blancvilliers by Koji Nakata, and much more.
Tatsuhiko Shibusawa (1928—1987), was a well-known and controversial Japanese novelist, art critic, and translator of French writers such as Jean Cocteau, Georges Bataille and Marquis de Sade. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defense, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa, whose essays on black magic, demonology and eroticism were popular reading in Japan, and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
Very Good copy. Light general tanning/wear.
2002, English / Japanese
Softcover (+ audio CD), 160 pages, 21x 15 cm
1st Edition, Out of print title / used / good
Published by
Improvised Music From Japan / Tokyo
$65.00 - Out of stock
The highly-acclaimed inaugural issue of Improvised Music From Japan, published in 2002 by Yoshiyuki Suzuki to document some of the "onkyo"-style improvised music being produced in Japan, and to accompany his label of the same name. Long out-of-print and rarely found with both magazine and CD present, the bilingual English-Japanese magazine features rare interviews, concert reports, reviews, and articles, including cover feature interview with Ami Yoshida, Sachiko M (Ground Zero), Phew, Off Site, Kaffe Matthews, Andrea Neumann, Otomo Yoshihide, Toshimaru Nakamura, View Masters, Seiichi Yamamoto, Brett Larner, Uchihashi Kazuhisa, Skist, tamaru, Yumiko Tanaka, Tetsu Saitoh, Nobuyoshi Ino, Yoshio Machida, Yasuhiro Yoshigak, Daisuke Fuwa, Shibusashirazu Orchestra, Erstwhile Festival, Aki Onda, minamo, Utah Kawasaki, Radu Malfatti, Taku Sugimoto, and much more. Heavily illustrated throughout.
Accompanying CD with music by Toshimaru Nakamura, Tetuzi Akiyama, Yoshio Machida, Radu Malfatti and Taku Sugimoto, m-7 (Fred Frith, Anne Hege, Brett Larner, Andy Nathan, Jonathan Segel, John Shiurba and Matthew Sperry), Haco, and others...
Average—Good copy with some moisture rippling to cover top spine edge lightly effecting the first few ages, wear to covers. CD is still-sealed in plastic pouch/never played, therefore As New.
1991, English
Softcover, 238 pages, 25 x 17 cm
1st Edition, Out of print title / used / good
Published by
Harwood Academic Publishers / UK
$30.00 - Out of stock
1991 issue of Contemporary Music Review, a jounral/forum for the in-depth discussion of new tendencies in composition. This issue, Volume 6 Part 1: Live Electronics / New Instruments for the Performance of Electronic Music, edited by Peter Nelson and Stephen Montague, including Annea Lockwood, Jerry Hunt, David Behrman, Warren Burt, Rolf Gehlhaar, Chris Mann, Ros Bandt, Joel Chadabe, Larry Austin, Morton Subotnick, Barry Schrader, David Rosenboom, John Rimmer, Mesias Maiguashca, and many more. A treasure for anyone interested in the break-neck developments of electroacoustic, computer and interactive sound.
Contents: (New Instruments for the Performance of Electronic Music) Introduction — Peter Nelson; Some remarks on musical instrument design at STEIM — Joel Ryan; The audio interface — David Bristow; The video harp: an optical scanning MIDI controller — Dean Rubine and Paul McAvinney; The UPIC as a performance instrument — Pierre Bernard; SOUND SPACE: an interactive musical environment — Rolf Gehlhaar; Cargo cult instruments — Nicholas Collins; (Live Electronics) Introduction — Stephen Montague; Barry Anderson; Live/electro-acoustic music - a perspective from history and California — Barry Schrader; Live-electronic music on the third coast — Larry Austin; Interactive performance systems — Jerry Hunt; Designing interactive computer-based music installations — David Behrman; About M — Joel Chadabe; Annea Lockwood interviewed by Stephen Montague; Observations on live electronics — Brian Bevelander; Experimental music in Australia using live electronics — Warren Burt; John Rimmer and free radicals: live electronic music in New Zealand — Elizabeth Kerr; Live electronic music in Britain: three case studies — Simon Emmerson; The German scene: Mesias Maiguashca interviewed by Stephen Montague; Live electronics in Denmark — Wayne Siegel; Real-time computer music at IRCAM — Cort Lippe; more...
VG copy, faded spine, light wear.
1998—2001, English
Softcover (staple-bound w. 7 additional loose leaf catalogues + postcard), 30 x 21 cm
1st Edition, Out of print title / used / good
Published by
Stockhausen-Verlag / Kürten
$65.00 - Out of stock
1998 English-language catalogue publication issued on the 70th birthday of German composer Karlheinz Stockhausen, offering a complete and detailed "work list of the 253 individually performable Stockhausen compositions and a list of all compact discs of the Complete Edition which have been released to date". A valuable resource of detailed information on Stockhausen's compositions, the work list is accompanied by a list of then-current European musicians who were performing Stockhausen's works, excerpt from Stockhausen's On The Evolution of Music, plus colour photographic studio portraits of the composer. Plus, a bonus additional 7 collected mail-out catalogues from Stockhausen-Verlag dating between 1998—2001 and a Stockhausen-Verlag postcard, all included in this copy.
Good copy, publications with some light rippling to bottom front cover, general light wear/bending/age for postal materials.