World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2022, English
Hardcover, 180 pages, 23.39 x 28.4 cm
Published by
Fulton Ryder / New York
$135.00 - Out of stock
“With the hoods, I wanted to paint something that was already painted.”―Richard Prince
Published to coincide with a major exhibition at Gagosian, New York, “Hoods, 1988–2013” documents Richard Prince’ 25-year body of work of the “Hoods” series.
Created by the artist Richard Prince (born 1949) in parallel to a major survey show, Hoods is both a monograph and an artist's book focused on a celebrated collection of painted sculptures made from 1988 through 2013. Archival photographs in the book document the evolution of the Hoods, cataloging both the artworks and Richard Prince's mythical "Body Shop" and the destroyed "Second House" in Upstate New York.
In an interview with photographer Larry Clark, Prince stated that "With the Hoods, I wanted to paint something that was already painted." From this simple act of conceptual appropriation, Prince evolved a massive body of work that engages deeply with the vernacular design tradition of the customized American muscle car. Taken all together, the sculptures, the upstate Body Shop and Prince's own photo-documentation evoke both ambiguous nostalgia as well as feelings of absence and loss, perhaps best expressed in a sampling of the artwork titles: Almost Grown; American Place; Folksongs; Vanishing Point.
1979, German
Softcover, 419 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthaus Zürich / Zürich
Bentelli Verlag / Bern
$80.00 - In stock -
Wonderful over-sized catalogue published on the occasion of the exhibition Malerei und Photographie im Dialog / Painting and Photography in Dialogue, Kunsthaus Zürich, May 13 to July 24, 1977. Profusely illustrated, this heavy volume documents this historical survey of the relationship between photography and painting from 1840 to the present (late 1970s); with a full catalogue of works, artists' biographies, bibliography. Edited by Erika Billeter with texts throughout by art historian Josef A. Schmoll. Includes the work of Edvard Munch, Urs Lüthi, Wols, Vito Acconci, John Baldessari, Eadweard Muybridge, Hannah Höch, Raoul Hausmann, Hans-Peter Feldmann, Oskar Schlemmer, Francis Bacon, Hilla and Bernd Becher, Les Levine, Constant Puyo, Clarence Hudson White, Jan Groover, Jochen Gerz, Duane Michels, Mario Merz, Giulio Paolini, Ruth Francken, Theo Von Doesburg, Kurt Schwitters, Ferdinand Hodler, Herbert Bayer, Marcel Duchamp, Gertrude Käsebier, Edward Steichen, Alighiero Boetti, Klaus Rinke, Giuseppe Penone, Pierre Bonnard, Paul Klee, Gerhard Richter, Monika Baumgartl, Yves Klein, Wolf Vostell, Heinrich Kühn, Georges Mathieu, Peter Roehr, Sarkis, Jiro Takamatsu, Michael Heizer, Umberto Boccioni, Hans Bellmer, William Wegman, Raoul Ubac, Margrit Jäggli, André Kertész, Jiri Kolar, Kasimir Malevich, Henri de Toulouse-Lautrec, Dennis Oppenheim, Christian Boltanski, Dan Graham, Jan Dibbets, Jürgen Klauke, Bruce Nauman, Jean Tinguely, Vettor Pisani, Max Ernst, Joseph Cornell, Allen Kaprow, Arnulf Rainer, Mieczyslaw Berman, Jim Dine, George Brecht, Man Ray, Paul Wunderlich, Karin Székessy, Tom Wesselmann, Chuck Close, Eugène Delacroix, Duane Hanson, Heinrich Zille, Félix Vallotton, Carl Durheim, Gilbert and George, Joseph Beuys, Thomas Eakins, Robert Rauschenberg, Édouard Vuillard, Carlo Carrà, Alphonse Mucha, Les Krims, Albert Steiner, Giorgio de Chirico, Keiji Uematsu, Ernst Ludwig Kirchner, Heinrich Zille, Franco Fontana, Richard Long, Ben Shahn, Edmund Kesting, László Moholy-Nagy, Anton Stankowski, Paul Nash, Rene Magritte, Paul T. Frankl, John Heartfield, El Lissitzky, Georges Hugnet, Gordon Matta-Clark....
Very Good copy, crease to top cover corner.
1988, English
Softcover, 70 pages, 29 x 22 cm
1st Edition, Out of print title / used / very good
Published by
ICA / London
$65.00 - Out of stock
Scarce copy of Another Objectivity, catalogue published to accompany the major group exhibition at the Institute Of Contemporary Arts, London, 1988. Examining the work of 13 European and American photographers, the curators develop a definition of objectivity that emphasizes description as construction and the specificity of the photographic image. Profusely illustrated throughout with the work of photographers including Robert Adams, Bernd and Hilla Becher, Günther Förg, Hannah Collins, John Coplans, Jean-Louis Garnell, Craigie Horsfield, Suzanne Lafont, Thomas Struth, Patrick Tosani... Essay by curators Jean-François Chevrier and James Lingwood, and preface by Iwona Blazwick. Includes biographies of artists.
Very Good copy with some wear to cover edges.
1990, Japanese
Softcover (w. dust jacket), 112 pages, 25.7 x 18.4 cm
Out of print title / used / fine
Published by
Haga Bookstore / Japan
$70.00 - Out of stock
Only in Japan c. 1988 would you find a book entirely made up of photographs of "British Nobles" of the 1980's silver screen. This wonderful Japanese photo-book / "Cine Album" captures the British actors Rupert Everett, Daniel Day-Lewis, Hugh Grant, James Wilby, Rupert Graves, Cary Elwes, and Colin Firth, in all their "proud devilish beauty" starring in films such as Another Country (1984), A Room with a View (1985), The Unbearable Lightness of Being (1988), A Month in the Country (1987), My Beautiful Laundrette (1985), The Right Hand Man (1987), White Mischief (1987), A Handful of Dust (1988), Local Hero (1983), and many more. Profusely illustrated with film stills, press photos, behind the scenes shots, and movie posters to accompany subject-specific filmographies for each actor and many other honourable mentions (Dirk Bogarde, Nolan Hemmings, Gary Oldman, Julian Sands, Nigel Havers, etc), all reproduced in vivid colour and b/w gloss. Edited by Sawako Omori with essay "From Valentino to Daniel Day-Lewis" by Yuki Sato. Published by the great Haga Bookstore imprint.
Fine copy in dust jacket.
2022, English
Hardcover, 544 pages, 24 x 33 cm
Published by
Purple Institute / Paris
$89.00 - Out of stock
Purple celebrates its 30th anniversary and for this issue interweaves new editorial content with facsimiles of pages from past issues to show how different moments in time resonate and connect to each other. This issue tells the story of 30 years devoted to artists, designers, photographers, writers, cities and other facets that define the Purple World - such as night, philosophy, diversity, avant-garde, sex and politics. Throughout 30 parts full of photography, fashion, cool kids and nostalgia, the 30YRS issue features Elein Fleiss, Martin Margiela, Takashi Homma, Chloë Sevigny, Richard Prince, Bernadette Corporation, Wolfgang Tillmans, Comme Des Garçons, Rita Ackermann, Kenneth Anger, Olivier Zahm, Dominique Gonzalez-Foerster, Abel Ferrara, Maurizio Cattelan, Dash Snow, Arthur Jafa, Glenn O'brien, Harmony Korine, Juergen Teller, David Lynch, Susan Cianciolo, Kim Gordon, Terry Richardson, Chikashi Suzuki, Katja Rahlwes, Henrik Purienne, Marlene Dumas, Rick Owens, and many many more. Accompanied by a special Urs Fischer Purple Book.
Purple magazine issue #38 features 29 different photographic covers. Unfortunately it is not possible to buy a specific cover.
2022, English
Softcover, 108 pages, 12 x 18 cm
Published by
Daisy editions / Lisbon—Paris
$23.00 - Out of stock
One Thing I Know is Pati Hill's third novel, first published in 1962, when she was forty-one and had just given birth to her first and only child. It is the last novel she wrote before claiming to "quit writing in favor of housekeeping". Written in the purest tradition of American coming-of-age stories, One Thing I Know follows a sixteen-year-old girl, Francesca Hollins, as she discovers an unexpected taste for autonomy. The bravado of her affirmation cannot mask the seriousness of her conviction: "One thing I know, I will never be in love again."
Pati Hill (1921-2014) was an American writer and photocopy artist best known for her observational style of prose and her work with the IBM photocopier.
2022, English / French
Softcover, 256 pages, 17.5 x 24 cm
Published by
May Revue / Paris
$36.00 - In stock -
Jay Chung, Claire Fontaine, Josef Strau, Alain Guiraudie, Bernadette Van-Huy, Helmut Draxler, Henrik Olesen by Thomas Duncan, Heji Shin by Benoît Lamy de la Chapelle, Marcel Proust by Yves-Noël Genod, Merlin Carpenter by Annie Ochmanek, Josephine Graf, Helmut Draxler, Megan Francis Sullivan and Nick Mauss, Dylan Byron and Isabelle Graw, Benjamin Lignel and Anne Dressen, Clément Rodzielski.
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, once a year, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisment typical of our time. This implies a dialogue with forms of critique produced in other fields.
2003, English / Japanese / French
Softcover (w. dust jacket), 68 pages, 22 x 20 cm
1st Edition, Out of print title / used / fine
Published by
Amus Arts Press / Japan
$100.00 - Out of stock
First edition of Kyoichi Tsuzuki's "Image Club" photo book, published in Japan in 2003. Image Club is a one-of-a-kind photographic glimpse at the constructed environments of a secret Tokyo bordello phenomenon called "ikemura" or "imeji kurabu" (image club). The Imekura-Image Club is a Japanese sexual role playing service in which fantasy sets of remarkably mundane environments (a commuter train, an office kitchen, a consulting room, a girl's bedroom...) are created for a customer to encounter an imekura girl of his dreams. Tsuzuki describes the strange phenomenon as "the far north of simulation art." The customer may want to molest a female commuter on the train, commit sexual harassment at the office or enter a young college student's room. It is a "temporary space that embodies delusions" and "a representation of the dynamism of an extremely Japanese imagination". Printed in full-page colour images, the rooms only pictured here devoid of human interaction, shot as empty interiors with an almost sterile gaze. Accompanying text by Kyoichi Tsuzuki in English, Japanese and French.
Kyoichi Tsuzuki (1956—) is a Japanese editor and photographer. After working as an editor and writer for the magazines "Popeye" and "BRUTUS", and whilst interviewing and compiling the "Art Random" series, Tsuzuki started taking photographs of unique environments specific to life in contemporary Japan. These photo collections have formed the cult, award-winning photo-books "ROADSIDE JAPAN", "TOKYO STYLE" and "Image Club", amongst others.
Fine copy with Fine Dust Jacket.
2013, English
Softcover, 200 pages, 27.5 x 21.1 cm
Published by
Doingbird / Sydney
$14.00 $5.00 - Out of stock
Doingbird Seventeen, 2013
features Roe Ethridge, Walter Pfeiffer, Torbjørn Rødland, Shauna T, Fergadelic, Ryan Foerster, Max Doyle, Peter de Potter, Rene Vaile, Paul Wetherell, Ben Toms, Catherine Opie, Max Natkiel and much more.
1973, English
Softcover (soft boards), 204 pages, 29.6 x 21.2 cm
1st Edition, Out of print title / used / average
Published by
Harry N. Abrams / New York
Thames and Hudson / London
$25.00 $15.00 - Out of stock
English edition wide ranging and comprehensive survey of conceptual and other contemporary art movements circa 1973—1974, profiling 53 contemporary artists from 18 countries, edited and designed by the legendary Dutch typographer and museum curator, Willem Sandberg, with associates including Jean-Christophe Ammann, Harald Szeemann, Achille Bonito Oliva, Yona Fischer and many others. Original cover by Alighiero Boetti. Profusely illustrated throughout in colour and black and white with collected works by each artist or original pieces made for the publication, aside from the occasional accompanying artist's text it is entirely made up of visuals. Artists featured include : Sergi Aguilar, Gilles Aillaud, Keith Arnatt, Gábor Attalai, Lothar Baumgarten, Ola Billgren, Alighiero Boetti, Christian Boltanski, Marcel Broodthaers, Boris Budan, Luciano Castelli, Mary Corse, William Crozier, Hanne Darboven, Jan Dibbets, Braco Dimitrijević, Gino De Dominicis, Benni Efrat, Luciano Fabro, Robert Filliou, John-E Franzen, Hamish Fulton, Tibor Gayor, Avital Geva, Zbigniew Gostomski, Allan V. Harrison, Jeroen Henneman, Martha Jungwirth, Zdzislaw Jurkiewicz, Per Kirkeby, Christof Kohlhöfer, Harriet Korman, Piotr Kowalski, Richard Long, Urs Lüthi, Inge Mahn, Richard Nonas, Lev Nusberg, Panamarenko, Antonio Soler Pedret, Ireneusz Pierzgalski, Vettor Pisani, Joan Hernández Pijuan, Carl J. Plackrnan, Markus Raetz, Franz Ringel, Salvador Sauna, Kjartan Slettemark, Hugo Suter, Endre Tot, Jerzy Treliński, Carel Visser, Rolf Winnewisser...
Average—Poor copy, contents and interior in good shape and complete, cover and edges with decent wear and marking, spine 75% torn away, although all still thread-bound.
2021, English
Softcover, 266 pages, 16.5 x 11 cm
Published by
Walther König / Köln
$34.00 - Out of stock
The seventh installment of Feldmann’s ever-collectible found-image photobook series.
For most of his career, German visual artist Hans-Peter Feldmann (born 1941) has been a virtuoso reappropriator of images, mining visual culture both high and low to create assemblages of disparate symbology. His Voyeur project presents a unique series of photographic artist's books filled to the brim with juxtapositions, each page composed of images sourced from all areas of modern life. Excerpts from film, photojournalism, advertisements, fine art, amateur photos, pornography and scientific illustrations, some instantly recognizable and some utterly obscure, appear in the seventh edition of Feldmann's series. Questions of copyright and commercialization are hinted at but never answered as Feldmann encourages readers to draw their own conclusions about the artistic value of ephemeral curation. Readers may leaf through the book as one might a stranger's personal scrapbook, creating their own narratives from the contextless images.
SALE copy: New with damage to front cover.
2021, English
Softcover, 128 Pages, 27 x 35 cm
1st Edition, 1000 copies,
1st Edition, Out of print title / as new
Published by
Baron / UK
$80.00 $50.00 - In stock -
For the seventh instalment of Baron photographer Richard Kern explores the dichotomy between girl and woman, between the nude and the dressed, and between playfulness and seriousness.
Kern does not ask his subjects to pose for him, nor does he direct them. He doesn’t even contact or cast them. Rather, the subjects contact him, and pose for him in any way they are comfortable. They sometimes choose to be portrayed in the nude and they have full control of the way their bodies are photographed. Therefore, the work is a collaboration between the model and the photographer, as they both construct the image.
This process plays out an interesting power dynamic, as the photographer is an older man and the subject is a young woman. Yet, by being seemingly opposed, the photographs are shaped by the male gaze, but simultaneously express the subjects’ agency over their sexuality and their bodies. However, how far is the performance of these young women a true expression of their new-found sexuality? Or is that performance rather shaped by the patriarchy and influenced by the endless stream of pop culture on what it is to be a woman?
Kern explains that he wanted this series of portraits to be about the last stage of innocence, the phase where a girl is leaving childhood and is slowly but surely entering adulthood. The many uncertainties that come from being in between age groups, in a place where it’s unclear what society is expecting of being a woman, are visible through the insecurity and agitation on the girls’ faces.
It’s so scary for a girl to leave her old, but safe, life behind, yet so exciting to be introduced into the thrilling, but possibly threatening world of womanhood. There is a sense of safety, but also danger here. The photographs are layered on top of each other, veiling and unveiling the female body. In doing so, Kern creates a hallucinating image of a feminine subject that is neither a girl, nor yet a woman. Both sides are emphasized through the translucency of the pictures. These girls are about to become women; in their eyes, you can see both the doubts and the joys that come with this new-found social position, role and sexual power.
Richard Kern (1954, USA) is a filmmaker and photographer from New York. He was a vivid member of the late ‘70’s ‘no-wave’ scene and the underground cult genre ‘Cinema of Transgression’. His cinematographic work is characterised by subversive elements such as violence and sex. Throughout his career, he has worked with musicians such as Lydia Lunch, Henry Rollins, Sonic Youth and Butthole Surfers. His book, New York Girls, from 1997, features punk queens and sub-cultural heroines portrayed in the nude. More recently, Kern investigated youthfulness in his work. His book, Medicated (2020), features photographs and interviews of girls on prescribed drugs. Baron Issue 7 is a continuation of Kern’s ongoing research on the portrayal of girlhood.
Art Direction Sam Boxer
1984/5, Japanese
Softcover (staple-bound), 48 pages, 30 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fiction Inc. / Tokyo
$60.00 - In stock -
Rare early 1984/5(?) issue 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 later 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. These early issues however, although featuring erotic and fetish themes, were also an incredible showcase of a new wave of Japanese illustrators, graphic artists and photographers. They also covered punk and avant-garde music, with many interviews, articles and illustrations collaged together in the fanzine tradition with Orui's wonderful touch. A wonderful example of the finest in underground arts publishing in Tokyo in the 1980s.
SALE2 No. 4 Vol. 16 is a special 1984/5 new year calendar issue that features articles on Nobuyoshi Araki, Man Ray, Ryuchi Sakamoto, an interview with John Lydon, an illustrated article on eroticism (with Helmut Newton, Pierre Molinier, Allen Jones, and others pictured), artwork by Terry Johnson, Sachiko Nakamura, Dan Takasuge, Yu Fujimoto, Hiromasa Katoh, Tadamasa Yokoyama, and much more...
All texts in Japanese.
Good copy with cover wear and spine pinches of stiff board covers.
1986, English
Softcover, 319 pages, 175 x 229 mm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$69.00 - Out of stock
Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
Rosalind E. Krauss, University Professor at Columbia University and an editor and cofounder of October magazine, is the author of The Originality of the Avant-Garde and Other Modernist Myths (1985), The Optical Unconscious (1993), The Picasso Papers (1999), and Bachelors (1999), all published by the MIT Press, and coauthor (with Yve-Alain Bois) of Formless: A User's Guide (Zone Books, 1997).
"All of her observations are unfailingly original and provocative."—Art Documentation
Very Good copy of original 1986 edition, 1993 printing.
1996, English
Softcover, 328 pages, 18 x 22.2 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$69.00 - Out of stock
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real -- to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-garde, it concludes with an original reading of this contemporary situation -- and what it portends for future practices of art and theory, culture and politics.
Includes the work of David Hammons, Robert Gober, Mike Kelley, Marcel Duchamp, Alexander Rodchenko, Vladimir Tatlin, Dan Flavin, Carl Andre, Jasper Johns, Daniel Buren, Marcel Broodthaers, Michael Asher, Hans Haacke, Fred Wilson, Silvia Kolbowski, Larry Bell, Sol Lewitt, Richard Serra, Eva Hesse, Donald Judd, Tony Smith, Robert Morris, Robert Smithson, Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Ross Bleckner, Barbara Kruger, Sherrie Levine, Vito Acconci, Bruce Nauman, Gordon Matta-Clark, Frank Stella, Robert Rauschenberg, Andy Warhol, Allan McCollum, Gerhard Richter, Richard Estes, Richard Prince, Cindy Sherman, Kiki Smith, John Miller, Zoe Leonard, Gran Fury, Renée Green, Dan Graham, Martha Rosler, Allan Sekula, Mary Kelly, Silvia Kolbowski, Lothar Baumgarten, Fred Wilson, Jimmie Durham, and many more.
1989, Japanese
Hardcover (w. slipcase), 259 pages, 28.4 x 23 x 3 cm
1st Edition, Out of print title / used / very good
Published by
Shirayo Shobo / Japan
$140.00 - Out of stock
Japanese hardcover edition of the Kubrick photo-book/definitive study by film critic Michel Ciment, in original hard printer's slipcase. Providing an insightful examination of Kubrick's films--including 2001: A Space Odyssey, Dr. Strangelove, Lolita, A Clockwork Orange, The Shining, and Full Metal Jacket--this lavishly illustrated book features more than four hundred photographs that form a complementary photo essay. Rounding out this dense and unique work are a short biography of Kubrick; interviews with the director, as well as cast and crew members, including Malcolm McDowell, Shelley Duvall, and Jack Nicholson; and a detailed filmography and bibliography. Meshed with masterful integrity, the book's text and illustrations pay homage to one of the most visionary, original, and demanding filmmakers of our time. Texts in this edition are in Japanese.
1998, Japanese / English
Softcover, 60 pages, 37 x 26 cm
1st Edition, Out of print title / used / very good
Published by
Kinetic Inc. / Tokyo
$220.00 - Out of stock
Exceptionally rare first, only edition of this over-sized Japanese cine-file photo-book dedicated to the work of Polish-French film director Roman Polanski (b. 1933). This stunning, glossy volume is cover-to-cover filled with full-bleed colour and b/w reproductions from Polanski's first three feature-length masterpieces Knife in the Water (1962), Repulsion (1965) and Cul-de-sac (1966). Françoise Dorléac, Jolanta Umecka, Yvonne Furneaux, all here, plus Polanski, Donald Pleasence, Iain Quarrier, Zygmunt Malanowicz, Leon Niemczyk, Ian Hendry, John Fraser...
Very Good — Fine, beautifully preserved copy of this fragile over-sized publication.
1982, English
Hardcover (dust jacket), 280 pages, 27 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Thames and Hudson / London
$75.00 - In stock -
When The History of Photography by Hemut and Alison Gernsheim was first published in 1955, it immediately established itself as the standard work on the subject, described by the Financial Times as 'the most important singe historical work in the field.' The first part of this classic book was revised by Professor Gernsheim and published here as The Origins of Photography (1982). Now, in The Rise of Photography, he brings the revision of his magnum opus up to 1880.
First 1982 hardcover edition of this important volume.
Helmut Gernsheim (1913—1995) was a photographer, collector, historian, curator, author and lecturer, and the first historian to be inducted into the International Photography Hall of Fame. Gernsheim pioneered many aspects of collecting photographica and writing about photography’s history.
Profusely illustrated with beautiful historic images of photography as an art and technique from its antecedents to 1857, the book contents cover : the prehistory of photography — Heliography — The daguerreotype — Negative/positive processes on paper — Direct positives on paper — Other independent inventors — The daguerreotype in France — The daguerreotype in America — The daguerreotype in Great Britain, 1839-c. 1857 — The daguerreotype in German-speaking countries — The origins of photography in Italy — Stereoscopic daguerreotypes — The calotype and other paper processes in Great Britain, 1841-c. 1857 — The progress of photography on paper in other countries.
Very Good copy in Good dust jacket (w. some small chips to edges, light wear). Preserved under mylar wrap.
1990, English
Softcover (w. dust jacket), 512 pages, 29.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Biennale of Sydney / Sydney
$120.00 - Out of stock
First edition of the incredible (huge) catalogue published to accompany the 8th Biennale of Sydney 1990 "The Readymade Boomerang: Certain Relations in 20th Century Art", held 11 April-3 June 1990 in Sydney across various venues. The eighth Biennale began from ‘a trio of Dada originators’: Marcel Duchamp, Man Ray and Francis Picabia. A large number of artists across generations joined these key figures in Artistic Director René Block’s exploration of the ‘readymade’ in twentieth-century art, which aimed to highlight ‘its invention and pure use by Duchamp, to its resurgence in Nouveau Realism, Pop Art, and Fluxus of the 60s, all the way to new versions by young contemporary artists’. Pop, fluxus and conceptual artists such as Andy Warhol, Richard Hamilton, Marcel Broodthaers, Joseph Beuys, John Cage, Alison Knowles, César, George Brecht, Nam Jun Paik and Piero Manzoni were shown alongside Rosemarie Trockel, John Nixon, Ian Burn, Mel Ramsden, Janet Burchill, Peter Tyndall, Robert Rooney, Rosalie Gascoigne, Cindy Sherman, Bruce Nauman, Hans Haacke, Rebecca Horn, Sophie Calle, Jeff Koons, Allan Kaprow, Jenny Holzer, Robert Gober, Jill Scott, Bill Culbert, Stanley Brouwn, Peter Cripps, Terry Fox, Ian Hamilton Finlay, Fischli & Weiss, KP Brehmer, Sigmar Polke, Dieter Rot, Hanne Darboven, Robert MacPherson, Jackie Redgate, Ed Ruscha, Barbara Bloom, Oyvind Fahlstrom, amongst so many others. The industrial Bond Store at Millers Point featured site-specific works by artists such as Olaf Metzel and Simone Mangos, and several works were created on-site in Sydney, amplifying Block’s notion of the Biennale as a ‘workshop’. A comprehensive satellite program of music, performance, lectures, symposia, workshops and exhibitions at various Sydney venues complemented the exhibition, with Carles Santos’ piano recital on a barge in Sydney Harbour a highlight. Five satellite exhibitions included On Kawara, Joseph Beuys, Alain Fleischer, Fluxus and Broken Record, which featured artist’s experimentations with audio recordings, vinyl and album artwork – from John Cage’s 33 1/3 composition for 12 record players to Milan Knížák’s record-collages.
An incredible Sydney biennale, captured here across over 500 pages conceived and realised by René Block and Jennifer Cook - profusely illustrated with examples of all artists works and accompanying texts throughout by Lynne Cooke, Bernice Murphy, Anne Marie Freybourg, Dick Higgins, René Block and Jennifer Cook. Very Good copy with only general wear/ageing. Bright and clean, includes tanned original dust jacket now preserved under plastic wrap.
Having represented Beuys, Richter and Polke, German gallery owner, art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde.
Very Good copy with original dust jacket. Common tanning to dust jacket spine, now preserved under mylar wrap.
2019, English / German
Softcover, 64 pages, 23 x 30 cm
Published by
Walther König / Köln
$90.00 - Out of stock
Grey pictures by Richter from the years 1965 to 1974 as well as Spiegel, Grau / Mirror, Grey from 1991 are juxtaposed with photos by Michael Schmidt of Waffenruhe (1985–1987) and Berlin Wedding (1976–1978). An exploration of the colour grey through both artists work.
Published on the occasion of the exhibition, Gerhard Richter and Michael Schmidt at Galerie Thomas Zander, Cologne (1 December 2018 – 8 March 2019).
English and German text.
2020, English
Hardcover, 400 pages, 24 x 29.6 cm
Published by
Walther König / Köln
$110.00 - Out of stock
An enormous and definitive hardcover appraisal of Michael Schmidt, Berlin’s greatest chronicler in the postwar period.
Author of now-classic photobooks such as Waffenruhe and Berlin-Wedding, Berlin-based photographer Michael Schmidt (1945-2014) was acclaimed in his lifetime for his black-and-white, documentary-style depictions of his native city. This is the first full appraisal of his work, featuring numerous images of working material such as work prints or book dummies, as well as archival material—invitation cards, posters and exhibition views. Essays by Ute Eskildsen, Janos Frecot, Peter Galassi, Heinz Liesbrock and Thomas Weski, who worked closely with Schmidt on various projects during his lifetime, complement these materials.
Schmidt was born on 6 October 1945 in East Berlin, five months after the German surrender. His family crossed to West Berlin before the construction of the Berlin Wall in 1961. His earliest series on Berlin, Stadtlandschaft (Urban Landscapes) (1974-75) and Berlin, Stadtbilder (Berlin, Urban Images) (1976-80), established the idiom he would pursue for the rest of his life.
1980/1986, English
Softcover, 288 pages, 28 x 21.5 cm
Out of print title / used / good
Published by
The MIT Press / Massachusetts
LACMA / Los Angeles
$45.00 - Out of stock
Catalogue published to accompany an exhibition at the Los Angeles County Museum of Art and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., 1980-1981. Edited by Stephanie Barron and Maurice Tuchman, this groundbreaking, richly illustrated (465 items) book documents "the most comprehensive survey of 1910—1930 Russian avant-garde art ever shown in this country"—Portfolio. Covering painting, sculpture, prints, drawing, books, photographs, costumes and examples of industrial, architectural, and theatrical design, with a special focus on Suprematism and Constructivism, this generous volume contains 19 authoritive and enlightening essays, excellent illustrated reference profiles on each artists, biographies, bibliographies, and a detailed chronology of the period. An essential art history reference, containing the works of Natan Altman, Yurii Annenkov, David Burliuk, Vladimir Burliuk, Marc Chagall, Iiia Chashnik, Vasilii Ermlov, Vera Ermolaeva, Alexandra Exter, Pavel Filanov, Naum Gabo, Natalia Goncharova, Vasilii Kamensky, Vasilii Kandinsky, Ivan Kliun, Gustav Klucis, Petr Konchalovsky, Ivan Kudriashev, Mikhail Larionov, El Lissitzky, Kazimir Malevich, Pavel Mansurov, Mikhail Matiushin, Konstantin Medunetsky, Petr Miturich, Alexei Morgunov, Vera Nikolskaia, Liubov Popova, Ivan Puni, Alexandr Rodchenko, Olga Rozanova, Georgii Stenberg, Vladimir Stenberg, Varvara Stepanova, Nikolia Suetin, Vladimir Tatlin, Nadezhda Udaltsova, Alexandr Vesnin, K.A. Vialov, Georgii Yakulov.
Good copy, with some general cover wear.
2022, English
Hardcover, 152 pages, 20.2 x 28.9 cm
Published by
Sternberg Press / Berlin
Kunsthall Trondheim / Norway
$65.00 - Out of stock
The first full monograph on Frida Orupabo, with images of her collages on paper and aluminum, digital prints, and a new visual essay by the artist.
Frida Orupabo's first monograph is published on the occasion of her exhibition at Kunsthall Trondheim. The book contains extensive documentation of her work, including social-media imagery the artist has been producing over the past several years, which forms an integral part of her artistic oeuvre. Essays by Stefanie Hessler, Lola Olufemi, and Legacy Russell provide insights into the relation of the artist's practice to Black visual culture, the archive, and digital life.
In her work, Orupabo explores questions of race, family and heritage, gender, sexuality, violence, and identity, while considering the necessity of visibility for political subjecthood. In her research process, Orupabo mines archives with a colonial history, revisiting images that were created through a racialized lens as well as on digital platforms such as Instagram and YouTube. She creates collages from found material, both digital and physical, and videos that are shown in exhibition spaces and distributed on the same online platforms from which she obtains material. The resulting works take the shape of fragmented Black, mostly female-bodied figures, offering various readings of the stories and lives of the people depicted, many of whom are hardly mentioned in the archives. Through relieving the images of their previous context, Orupabo urges viewers to look at them anew. This look can be unsettling--it is met by a countergaze that negates any monolithic categorization of those being depicted. By bridging historical archives and today's digital platforms, Orupabo foregrounds the social and political structures that determine how we see images, and how these structures organize our thinking. In doing so, her work proposes urgently needed alternatives of seeing otherwise.
1985, Japanese / English
Softcover (w. dust jacket and obi), 250 pages, 15 x 10.6 cm
1st Edition, Out of print title / used / fine
Published by
Kindai Eigasha / Japan
$65.00 $40.00 - Out of stock
Titillating little 1985 Japanese photo pocket-book packed cover-to-cover with "284 Star Actresses Who Took Off" — an endless stream of collected film stills of 284 European actresses naked on the silver-screen. From the great Giallo scream queens of the 1960s-70s to the stars of the European New Wave, including Carole Bouquet, Maria Schneider, Romy Schneider, Nastassja Kinski, Sophia Loren, Christina Lindberg, Sylvia Kristel, Isabelle Huppert, Corinne Cléry, Marianne Faithfull, Françoise Dorléac, Catherine Deneuve, Jane Birkin, Nathalie Delon, Olga Georges-Picot, Muriel Catala, Ornella Muti, Delia Boccardo, Julie Christie, Susan George, Edwige Fenech, Sybil Danning, Joan Collins, Isabelle Adjani, Clio Goldsmith, Muriel Catalá, Sophie Marceau, Charlotte Rampling, Valérie Kaprisky, Catherine Jourdan, Brigitte Bardot, Tina Aumont, Françoise Arnoul, Catherine Spaak, Valérie Lagrange, Miou-Miou, Isabel Sarli, Laura Antonelli, Anicée Alvina, Kristina van Eyck, and many more, all meticulously indexed! A "Continental Film" enthusiasts delight from the pre-internet publishing margins of Japan.
Very Good copy with VG DJ and Obi (not pictured). Preserved under mylar wrap.