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:
CLOSED FOR BREAK UNTIL NOV 10
WEB-SHOP OPEN 24/7
(ORDER SHIPPING RESUMES NOV 10)
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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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.
1977, Japanese
Softcover (staple-bound), 250 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Sun Publishing / Japan
$40.00 - Out of stock
SM Kitan November 1977 issue. A cult classic of vintage Japanese BDSM and Kinbaku (Japanese bondage), SM Kitan was the SM magazine published by the great Sun Publishing house, and was formerly known as S&M Abhunter (changing its name to SM Kitan from August 1975). Heavy with wonderful artwork galleries in colour and bw, glossy bondage photo-features, illustrated fetish fiction, manga, fold-outs, and much more. This issue features the work of some of the best names in Japanese SM art. Regular contributors included Ran Akiyoshi, Sotaro Aki, Tadao Chigusa, Namio Harukawa, Yoko Ozuma, Reiko Kita, Akiyoshi Akiyoshi, Hakuzan Shiraishi, Shoji Oki, Namio Harukawa, Akira Kasuga, and Gekko Hayashi (Gojin Ishihara).
Mature audiences (18+) only.
Very Good copy. Light cover wear/age.
2010, English
Softcover, 160 pages, 28 x 21 cm
1st Edition, Out of print title / used / very good
Published by
As Loud As Possible / UK
$110.00 - In stock -
Quickly out-of-print, inaugural and solitary volume of the UK noise music magazine, As Loud As Possible, published in 2010 and edited by Chris Sienko and Steve Underwood (Harbinger Sound). Not surprisingly an instant collector's item, this first ambitious issue (names after the Incapacitants 1995 album) is packed with articles, interviews and reviews with both "seminal and newly emerging sound artists that specialize in atonal sonic brutality." Runzelstirn & Gurgelstock, Broken Flag (Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo (M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang....), No Fun, Putrefier, Sewer Election, The Haters, The Rita / Sam McKinlay, Zone Nord / Jean-Luc Angles (Blowhole, Prick Decay, Small Cruel Party), Cheapmachines, Climax Denial, Interchange fanzine, Alien Brains / Storm Bugs / Anti-Messthetics, and much more...
Contents: “Runzelstirn & Gurgelstock: “Artaud, Aktionkunst, Abreaction and Eb.er” : texts by Alice Kemp, accompanied by new drawings from Rudolf Eb.er, and a detailed “Aktiongraphy”; The Broken Flag Story: An extensive indepth interview with Gary Mundy, covering the career of Ramleh, the complete output of his legendary Broken Flag record label, and also featuring new interviews with the artists responsible for those releases, including: Maurizio Bianchi, Unkommuniti, Mauthausen Orchestra, Satori, Controlled Bleeding, Irritant, JFK, Mauro Teho Teardo (M.T.T.), Con-Dom Sigillum S, Agog, Giancarlo Toniutti, Vortex Campaign, Le Syndicat, Krang and many more, plus unseen artwork and photographs; No Fun: Festival curator Carlos Giffoni talk about the New York festival's past, present and future, and covers his work with the No Fun Productions label. The Politics of HNW: The Rita’s Sam McKinlay talks about the obsessive nature of the harsh-head. Includes a list of Sam's essential Wall Noise picks spanning the past two decades. An excellent introduction to wall-riding; 30 Years of The Haters: G.X. Jupitter - Larsen provides a personal history, as well as a delineation of his ideas, methods, and tricks accrued over three decades. The inside story from the man who has made entropy his life's work. Putrefier: An interview with Mark Durgan, covering his twenty years in the UK's wilderness, from Birthbiter's heyday to the present-day. Includes reminiscences from Andy Bolus about their infamous duo project, Olympic Shit Man! Sewer Election: Sweden's loudest, Dan Johansson talks about his music, ideas, art and running a tape label. Interview by Mikko Aspa of Grunt; Zone Nord: An album -by- album look at the discography of this retired French noise legend, including brief commentary from Mr Zone Nord himself, Jean-Luc Angles; Apraxia: An interview with Patrick Barber, the man behind the label. Covers the output of this legendary label who released Blowhole, Prick Decay, Small Cruel Party and others in the early '90s; Cheapmachines: An interview with London sound-sculpter and all-'round sonic chameleon Phil Julian.
Climax Denial: An interview with this Milwaukee-based Power Electronics lecher, including an album-by-album analysis; Alien Brains, Storm Bugs and Anti-Messthetics: A study of the non-careers of two early eighties UK outfits that were very much connected. Includes input from some of the key players, plus lots of vintage artwork; Interchange: A look at this influential UK fanzine from the mid-80s, plus an interview with its creator, John Smith. Tunnel Canary: G. X. Jupitter - Larsen tells us about his first memories in Vancouver of this volatile bunch. IDES: An overview of the primary output of this American tape label, and an interview with its owner, Nicole Chambers; Classic Albums: A regular feature dedicated to both in-depth analysis and memories of overlooked but not forgotten gems from yesteryear. Issue #1 features articles on The Lemon Kittens (We Buy A Hammer For Daddy), XX Committee (Network) and RJF (Greater Success In Apprehensions & Convictions). A collection of thoughts and interviews, including an exclusive interview with ex- XX front-man, Scott Foust. Opinion Columns: A regular feature from a rotating pool of participatory players with the music they ponder. Includes John Olson (Wolf Eyes), Andy Ortmann (Panicsville), Mikko Aspa (Grunt), Steve Underwood (Harbinger Sound), Hicham Chadly (Nashazphone), Jonas Kellagher (Segerhuva), C. Spencer Yeh (Burning Star Core) and Mark Wharton (Idwal Fisher) amongst others. Covering artists including Masonna, Vomir, and The Black Phelgm, and ranging from Bizarre Uproar all the way to Christian bluegrass bluegrass music! Extensive reviews section. Back cover artwork by Richard Rupenus (The New Blockaders).
Very Good copy with light wear.
1998, French
Softcover (+ mini-cd), 142 pages, 18 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Episodic / Paris
$20.00 - In stock -
Rare copy of the 1998 double issue of French art/media theory zine Episodic, with this issue (4.5) including 3-track 3" mini-cd with multimedia section including a Sim City prop, plus exclusive abstract/experimental/minimal tracks by Sister Iodine, Mika Vainio (of Pan Sonic) and Oval. Each issue was built around a specific theme (or publishing principle), combining a variety of media and fields. This double issue — consacré à la ville / l’urbanisme à l’ère du numérique (dedicated to the city / urban planning in the digital age). The epitome of glitch graphic design. Berlin, Bilbao, Bordeaux, Dordogne, Grenoble, Helsinki, Kobe, Lille, Londres, Los Angeles, Montreuil, Nantes, New York, Ostende, Paris, São Paulo, Saint Pétersbourg, Sim-City, Stockholm, Venise… › Accession-à-la-douceur-de-vivre, Boris Achour, Yann Beauvais, Blockhaus DY 10, Guy Chevalier, Décé, Le fournil, Olivier Francès, Walter Friedman, Alexander R. Hickox, Laura Keller, Rubens Machado, Miles Kingsley McKane, Claire Maugeais, Jean-Claude Moineau, Nicolas Moulin, Jean-Christophe Nourisson, Oxymore, Yves Pélissier, Jérôme Saint-Loubert Bié…
VG copy w/ mini-cd
1983, English
Softcover, 104 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Art & Text / Prahran
$45.00 - In stock -
ART & TEXT 10
Winter 1982
Edited by Paul Taylor
CONTENTS :
The End of Civilisation Part 2: Love Among The Ruins by Vivienne Shark LeWitt
Fear of Texture by Imants Tillers
Items On The Menu by Paul Taylor
Presence and Absence: The Gallery As Other Place by Bruce Adams
Demolition Man by Ted Colless and Paul Foss
The Strip Laid Bare: Unevenly by Mick Carter
Put Youryoney Where Your Mouth Is by David James and Dave Sargent
Chameleon by John Davies
Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.
Very Good - general mild wear.
1982, English
Softcover, 96 pages, 17.5 x 24 cm
1st Edition, Out of print title / used / good
Published by
Art & Text / Prahran
$45.00 - In stock -
ART & TEXT 5
Autumn 1982
Edited by Paul Taylor
Contents:
"Self and Theatricality : Samuel Beckett and Vito Acconci" by Paul Taylor
"Beyond Beckett: Reckless Writing and the Concept of the Avant-Garde within Post-Modern Literature" by Nicholas Zurbrugg
"Dr. Spitzner’s Scrapbook" by Zerox Dreamflesh
"Literal Cloth: Elizabeth Paterson’s Masquerades" by Suzanne Spunner
"Musical Perception and Exploratory Music" by Warren Burt
"On Animism in Art" by Jenny Zimmer
"The 1979 Biennale ― ‘European Dialogue’" by Nick Waterlow
"Rebels and Precursors by Richard Haese and Murray/Murundi by Bonita Ely" by Jill Graham
"On Photo-Discourse" by George Alexander
Art & Text, one of the landmark contemporary art magazines of the 1980s and 1990s. Founded in Melbourne, Australia, in 1981 by Paul Taylor (1957–92), who soon moved to New York City to make his mark as an art critic, the magazine went on to become one of a handful of international art magazines that succeeded in capturing the turmoil and passing brilliance of that period of postmodernism.
Good - general wea, some rippling to bottom corner.
2010, Japanese
Softcover, 208 pages, 24 x 18.5 cm
1st Edition, Out of print title / used / good
Published by
Atelier Peyotl / Tokyo
$60.00 - In stock -
Incredible Hans Bellmer special feature Issue of cult Japanese underground magazine Yaso, published in 2010, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Being a magazine specialising in the doll arts it was only natural that they would dedicate an entire issue to the ground-breaking work of German Surrealist Hans Bellmer and the development of his dolls, and pay homage to his immense influence on Japanese doll artists by discussing his work with them. Heavily illustrated with reproductions of Bellmer's iconic doll photography and drawings, alongside reproduced and translated original texts, extensive chronology of Bellmer and Unica Zürn, the drawing and anagram work of his partner Zürn, an invaluable bibliography of publications related to Bellmer to date, and many portraits of the artist. There is an extensive chronicle of doll history and development stretching from 1902—2010 and a large part of the issue is made up of heavily illustrated exclusive interviews with Japanese artists influenced by the legacy of Bellmer, including Simon Yotsuya, Nori Doi, Ryo Yoshida, Tatsumi Hijikata, Makoto Onozuka, Kishin Shinoyama, Minori Nawata, and more, surveys contemporary doll artists Volks, PEACH-PIT, naruto, Hizuki, Tari Nakagawa, Minori Nawata, Os, Akihiko Aono, mican, Ayumi, Masanao, Katan Amano, Nishioka Bro. & Sis., and many more, and includes essays by Sue Taylor, Alice Mahon, Kumi Ogata... absolutely packed with content and a valuable Bellmer reference in the context of his Japanese influence on the arts.
Good—Very Good copy with some light general reading wear.
2001, Japanese
Softcover, 128 pages, 27.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Ei Publishing / Tokyo
$140.00 - In stock -
Very rare copy of the first (and only?) issue of Japanese "crossover" magazine, Fu, a special Fashion / Photo Issue. What makes this stand-alone volume unique is that the content is not made up of fashion photography taken by a so-called fashion photographers, but fashion photography by celebrated Japanese photographers who usually don't take such a photographs. For example, Yoshinaga Masayuki shoots Y's for Men; Chikashi Suzuki shoots Veronique Branquino; Katsumi Watanabe shoots Via Bus Stop / Martin Sitbon, Jean Colonna, Alexander McQueen, Bernhard Wilhelm; Keizō Kitajima shoots APC; Onuma Shigekazu shoots X-GIRL; Hajime Sawatari shoots Hysteric Glamour; Osamu Kanemura shoots Masaki Matsushima; Masafumi Sanai shoots Milk Fed, Katsumi Omori shoots Revolver, etc. All shoots created exclusively for the magazine. This feature takes up the majority of the magazine, all photography with almost no text, but the magazine also includes a photo-special on Daido Morayama's New York photography and an interview with legendary Dune editor, actor and photographer, Fumihiro Hayashi.
Rare and collectible, even in Japan, for obvious reasons.
Very Good copy, light wear.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / good
Published by
Eros Magazine / New York
$50.00 - Out of stock
Volume One, No. 1, Spring 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Good copy with light wear to hardcovers, some wear to board edges, light foxing/toning.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / very good
Published by
Eros Magazine / New York
$50.00 - In stock -
Volume One, No. 2, Summer 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Very Good copy with light foxing/toning.
1962, English
Hardcover, 90 pages, 32.3 x 24.9 cm
1st Edition, Out of print title / used / very good
Published by
Eros Magazine / New York
$50.00 - Out of stock
Volume One, No. 4, Winter 1962 issue of the legendary, short-lived and controversial Eros magazine, published by Ralph Ginzburg and art director Herb Lubalin, a quarterly and revolutionary hardbound periodical containing articles and photo-essays on love and sex. Besides the learned introductions and publication of classical erotica, Eros covered stories about sexual practices that were until then piously hidden from the public eye. Although there was hardly a hint of pornography in the journal, it was explicit enough to trigger fatally the puritanical reflexes rooted so deeply in American culture. Eros was beset by legal and financial problems. The magazine closed down after four issues, partly because it was so expensive to produce, but primarily because Ginsburg, as editor, was absurdly convicted under federal obscenity laws for the fourth issue, which featured a naked, bi-racial couple embracing.
Eros was one of a group of vanguard publications created by Ginzberg and Lubalin in the 1960s-1970s, including fact: and Avant-Garde, that became iconic in the history of graphic design, ushering in a new generation of artistic publishing that was intelligent, humorous and caustically critical of American society and government via the bold and sensitive typographical approach synonymous with the work of the great Lubalin.
Very Good copy with light foxing/toning.
1998, English
Softcover, 158 pages, 21 x 15 cm
1st Edition, Out of print title / used / average
Published by
Altair / Blackwood
$35.00 - In stock -
Rare copy of the fifth issue of Altair, the short-lived, semi-annual speculative fiction magazine founded in 1998 by writer/editor/anthologist Robert N. Stephenson and published out of Blackwood, South Australia, until 2000, later becoming Altair Australia Books, a publishing venture which releases novels, anthologies and poetry collections. It's manifesto is 'to bring to light some of the lesser known works of Australia's and the World's leading writers in Science Fiction, Fantasy and Horror; be it short stories or commentary.' Much the same can be said about the origins as the Altair journal, featuring short science fiction and speculative fiction, Fantasy, Horror, essays, poetry and illustrations.
Altair V, edited by Robert N. Stephenson, Andrew Collings and Jim Deed, features written contributions from: Stephen Dedman, Karen Jordan Allen, Kain Massin, Joe Murphy, David Wesley Hill, Kurt von Trojan, Sten Westgard, Fred Saberhagen, Tony Shillitoe, Baryon Tensor Posadas, Lyn Nichols and Ron Collins, Sir Arthur C. Clarke, Andrew Collings, Robert J. Sawyer, Roberto de Sousa Causo, Liz Martin; illustrations by Adam Oehlers, Carol McLean-Carr, and others.
Average-Good copy with wear and damage to covers, internally Very Good throughout.
1989, Japanese
Softcover, 208 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$70.00 - In stock -
Issue No.36 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.36, the "Female Foot Fetishism Special Issue" with the wonderful wraparound Pierre Molinier cover is packed with imagery and essays around the theme of "Foot and Fetish Heel" throughout history, literature, film and fetish publishing, etc. profusely illustrated with drawings, photography, bondage illustrations, film stills, catalogue clippings, and artworks, including works by Bill Ward, Pierre Molinier, Nobuyoshi Araki, and so many more. It also features the Fiction, Inc. section that samples a cross-section of content from catalogue publications including the work of John Willie, Bill Ward, Carlo, Eric Stanton, Irving Claw, Betty Page, and periodicals such as Rubber Magazine, Amateur Bondage, Bizarre Comix, Bizarre Classix, Bizarre Fotos, Stiletto, and much more... Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
Very Good copy.
1992, Japanese
Softcover, 176 pages, 13 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Fiction Inc. / Tokyo
$70.00 - In stock -
Issue No.43 of the great SALE2 periodical from Tokyo Japan during the late 1980s and early 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. Each issue covers different themes and features, heavy on fetishism.
Issue No.43, the "Sexploitation Films" issue features "Biker Films, Beach Party Films, LSD Films, Women in Prison Films, Mondo Films...", a filmography from "A Taste of Flesh" (1967) to "The Wild, Wild World of Jayne Mansfield" (1968), a long interview with cult director Herschell Gordon Lewis, Russ Meyer, plus Carlo Mollino, Pierre Molinier, John Willie, Guido Crepax, Irving Claw, Betty Page, Gilles Berquet, and periodicals such as Sweet Gwen's, Bizarre, Gwendoline, Rigorosa Disciplina, and much more...
Very heavily illustrated throughout with erotic photography and artwork, all texts in Japanese.
1970, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tenjō Sajiki / Tokyo
$240.00 - 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.
1972, Japanese
Softcover, 340 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Tenjō Sajiki / Tokyo
$120.00 - In stock -
Rare copy of Angura (Underground Theatre) issue 5, 1972, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With iconic cover photography by Shūji Terayama, this issue's special feature is ‘City Drama / Human-powered airplane Solomon’, with contributions by Terayama, artsit Jiro Takamatsu, butoh dancer and choreographer Akira Kasai, actress Eiko Kujo, photographer Nobuyoshi Araki, film director Nobuhiro Kawanaka, playwright Yutaka Higashi, film critic Shigechika Sato, musician J. A. Seazer, musician Shigeo Takenaga, musician Norihito Inaba, photographer Hiroshi Yamazaki, 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.
1973, Japanese
Softcover, 340 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Tenjō Sajiki / Tokyo
$180.00 - In stock -
Very rare copy of Angura (Underground Theatre) issue 6, 1973, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With iconic cover photography by Shūji Terayama, this issue's special feature is ‘New Trends in Overseas Theater’, with contributions by Terayama, musician J. A. Seazer, musician Norihito Inaba, photographer Nobuyoshi Araki, actor Hideaki Sasaki, producer and actress Eiko Kujo, artist Nobuo Sasaki, and many others. Includes in-depth features and interviews on the work of theatre directors Jérôme Savary, Robert Wilson, and Mario Ricci and photo-reports the activities of independent theatre companies around the world, including Teatro Abaco (Rome), Atelje 212 (Belgrade), Teatr Laboratorium (Wrocław), La Mamma Theatre (New York), Forum Theater (Berlin), Odin Teatret (Holstebro), Stichting Mickery Workshop (Antwerp), making it a very valuable resource on the subject. There are also photo reports and scripts on the performances of Tenjō Sajiki, including works performed overseas. Incredible rare performance documents. 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.
1977, Japanese
Softcover, 64 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Tenjō Sajiki / Tokyo
$100.00 - In stock -
Rare copy of Angura (Underground Theatre) issue 11, 1977, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With iconic cover photography by Shūji Terayama, this issue's special feature is ‘Secret Drama (Absurd Ship)’, with contributions by Terayama, writer Taruho Inagaki, anthropologist Masao Yamaguchi, 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.
1979, Japanese
Softcover, 240 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare "Special Stock" compendium book by the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This special three issue collection combines Vol. 4 "Fantasy" + Vol. 6 "Eros" + Vol. 7 "Avant-Garde". Says it all really. Incredible in-depth, encyclopaedic features on Derek Bailey (full biography and discograohy), British avant-garde/free music/jazz/avant-rock/R.I.O./Canterbury (Bailey, Henry Cow, Daevid Allen/Gong, Lol Coxhill, Soft Machine, Company, Slapp Happy, Keith Tippett, National Health, Evan Parker, Art Bears, King Crimson, Hatfield and The North, Kew Rhone, National Health, Robert Wyatt, Spontaneous Music Ensemble, Incus Records, Ogun Records, etc.), R.I.O. expanded (Univers Zero, Art Zoyd, ZNR, The Residents, Albert Marcoeur, Stormy Six, Etron Fou Leloublan, Samla Mammas Manna, etc.), plus features and articles on Robert Fripp, Atoll, Annette Peacock, Italian Prog, Gloria Mundi, Peter Hammill, Ashra, Brian Eno, Tony Banks, Van Der Graaf, Genesis, Vangelis, Peter Gabriel, New Spanish Rock, and much more. Highly recommended to any fan of such things.
Very Good copy.
1988, Japanese
Softcover, 88 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
NEWSWAVE / Tokyo
$40.00 - In stock -
Rare copy of NEWSWAVE, a great post-punk/avant-rock/synth-pop fanzine from Tokyo in the 1980s, very seldom seen. This issue, volume 16 from 1988, includes a huge cover story on Patti Smith, A.R. Kane, Coil, Felt, Les Nouvelles Propagandes (French industrial/ambient label), Test Dept., Crime & The City Solution, The Pogues, David Bowie, the ZTT label (Paul Morley's label with Trevor Horn and Jill Sinclair — home of Art of Noise, Grace Jones...), plus abundant illustrated reviews and ads, all features packed with chronology and discography information, release artwork, graphics and photographs.
Very Good copy, very light wear.
1992, English
Softcover, 128 unbound pages, 41 x 29.5 cm
1st Edition, Out of print title / used / average
Published by
Joe McKenna / New York
$300.00 - In stock -
The first issue of one of the most sought after fashion publications of the 1990s, the impeccably produced, over-sized, unbound cult fashion folio magazine produced by stylist Joe McKenna and privately issued in 1992. Photographs by Bruce Weber, Peter Lindbergh, Ellen von Unwerth, Steven Meisel, Paolo Roversi, George Platt Lynes, and more. Design by Sam Shahid. Joe's was created at the height of the super-model era and a time in fashion of great artistic sophistication. A bold integration of art and fashion, the publication's success lies in the freedom that McKenna gave to the photographers and writers, away from the constraints of commercial publications. The magazine was funded by the ads, placed by designer friends of McKenna with no strings attached. A second issue only was published in 1998. Only two issues were ever made.
Articles include an illustrated discussion of the work of Parisian Maison Alaïa, Donald Windham on Tennessee Williams and Montgomery Clift with photos by George Platt Lynes and Karl Bissinger, Jean Paul Goude on Vanessa Paradis, with photographs by Paolo Roversi, Anna Sui on muse Wallis Franken, photographed by Steven Meisel and studies of Dirk Bogarde and artist Paul Cadmus.
The magazine ends with the controversial homo-erotic images of identical twins in Bruce Weber's photo-story 'The Last Days of Summer'. WARNING: This copy is priced to reflect the fact that this important section has been meticulously hand-censored wherever a penis is concerned due to it being copy imported into Tokyo in 1992 under strict print regulations. Sadly, this effects three Weber photographs, and one Paul Cadmus photograph.
Average-Good copy due to wear to cover boards and Japanese censorship outlined above. All other contents perfect.
1991, Japanese
Softcover (staple-bound), 210 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tsukasa Shobo / Tokyo
$55.00 - In stock -
July 1991 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/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. Each issue was overseen by a rotating group of editors, this issue including material by Kinichi Tanaka, Kaoru Hanano, Ryoko Narumi, Koji Yokoyama, Hitomi Nishina, Masami Akita (Merzbow), Rudolf Schwarzkogler, Domu Kitahara, Kazuya Ota, Erina, Jiro Ishikawa, Nao Saejima, 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."
Very Good copy.
1985, English
Softcover (staple-bound), 96 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
S.C.A.S.A. / Glebe
$100.00 - In stock -
Seldom seen copy of Sydney's "Fade To Black: A Collection", published by Sydney College of the Arts Film Group, edited by Stephen Cummins, Toula Anastas, Peter Handsaker, Gretta Kool and Mary Temelovski, with cover featuring stills from editor Steve Cummins' 1984 student film "Breathbeat". Stephen Cummins (1960-1994) was an Australian filmmaker, photographer and curator who left an indelible mark on the independent queer film scene.
With bold, high-contrast b/w art direction by Gretta Kool and Mary Temelovski throughout, the magazine opens with imagery from Catherine Lowing's 1985 film about the Sydney Lesbian S&M scene, "Knife in the Head, Spooky", followed by notes and quotes on film from Straub, Landow, Eisenstein, Barthes, Hitchcock, Godard, Fellini, Lesley Stern, Adrian Martin, and many more, before the feature contents (interviews, essays, reviews, artist pages, etc), as follows: "Framing the Film Still" Ross Gibson, "All the Glitters" Robyn Outram, "Transported" - Virginia Hillyard, "Mojave Moon" - Renee Romeril, "Roadscript" - Andrew Martin, "To Render the Body Ecstatic" - Anna Rodrigo interviews Laleen Jayamanne, "Doppelganger in Blue" - Steve Cummins, "Carmen" Louise Burchill, "Where None" - Toula Anastas, "Between Kitsch and Fascism" - Interview with Dieter Schidor, "Kanahooka Day Trip" - Kate Richards, "On Movement" - an essay in screenstudy - Chris Tuckfield, "Vluku Vlk" - Ken Heyes, "Hot Minutes" - Andrew Donaldson, "Lost in Space" - Ross Harley, "The Super 8 Film Group - More than Informative" - Michael Hutak, "And the Winner is ..." Anne Zahalka, "Psychotherapy and the Cinema" - Ben Crawford, "Little Hans Rides Again (a film still)" - Kurt Brereton, "Broken Mirrors Feminist Horror" - Ruby Davies, "Why have there been no great women ventriloquists - or what are they talking about" - Shan Short, "Imitation of Life" - Mark Titmarsh, "Sorry Wong Number" - Claudia Shaw, "Two Scenes from an untitled film" Ken Orchard, "Pieces of Freedom" - Melissa Smith, "Frameup" - Karen Borger, "Android" - Rosemary Johnson, "Staring at Helene and Pete" - Debra Thorsen, "What Price Culture" - Paola Talbert. A wonderful time-capsule of the film arts and film criticism in mid-80's Oz.
Good-Very Good copy with minor spine pinches and rubbing to black card covers.
1978, English
Softcover, 69 pages, 23 x15 cm
1st Edition, Out of print title / used / average
Published by
The Antares Foundation / San Francisco
$15.00 - In stock -
First Spring 1978 volume of Paragraph: A Quarterly of Gay Fiction published in San Francisco by The Antares Foundation and featuring the short fiction writings of Jane Alden, Richard Hall, Chip Moore, Pat Braus, Stanley Rutherford, and John F. Gilgun. Each story accompanied by an illustration/graphic.
Average-Good copy with general light wear to book extremities, light rubbing/toning, previous sticker damage to back cover. Internally nice and clean.
1981, French
Softcover, 48 pages, 32 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Éditions SNEP / Geneva
$45.00 - In stock -
Double Page No. 8: Le Carnaval de Bâle / Paul Maurer, published in 1981 as part of the Swiss photography series of over-sized art books. "Each issue of DOUBLE PAGE presents a photographic series on a single subject, treated by a single photographer, preceded by an author's text." This volume comprising photographs of the masked and costumed participants of Le Carnaval de Bâle shot in the streets of Basel during the biggest carnival in Switzerland, photography by Paul Maurer with text by French writer Michèle Fitoussi.
Very Good copy with some light wear.