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
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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.
2021, English
Softcover, 168 pages, 22.5 x 16 cm
Published by
Mousse / Milan
$59.00 - Out of stock
How do we draft a life, make of it a project, do our daily work? In what material and language does it arrive to us? And what if but it is done with one’s own body, and that body becomes this material but not the subject? Villiger’s autofictions––whether sculpture or image, human or vegetal body––prompt such queries. As Griselda Pollock writes brilliantly, ‘here are the collected works that form the project that we name Hannah Villiger. She is not the originating and knowing cause of the work, but the site of its daily compulsion.” –– Quinn Latimer
Hannah Villiger (1951–1997) lived and worked as a resident artist at Istituto Svizzero in Rome from 1974 to 1976. There she realized her early artistic ideas and developed the sculptural approach to photography that would shape all of her later work—namely large-format photographs of her own body arranged into blocks of several images, which show close-ups of sometimes fragmented and abstracted body parts. Villiger viewed herself as a sculptor rather than a photographer, and these Roman years were decisive in shaping her artistic practice. In her studio and in the garden of Villa Maraini, she first developed simple objects inspired by the materials of Arte Povera, then gradually shifted to photography, perceiving it as a more sculptural method.
Published on the occasion of Works/Sculptural at Istituto Svizzero in Rome, Villiger’s first major solo exhibition in Italy, Hannah Villiger: Roma and afterwards expands the horizon of the exhibition with unpublished materials from the artist’s estate as well as images from her working diaries that offer insight into her artistic practice in Rome.
Edited by Gioia Dal Molin.
Texts by Elizabeth Bronfen, Gioia Dal Molin, Quinn Latimer, Thomas Schmutz.
2022, English
Hardcover (w. dust jacket), 320 pages, 24 x 30 cm
Published by
MoMA / New York
$110.00 - Out of stock
Edited by Roxana Marcoci
Contributions by Quentin Bajac, Yve-Alain Bois, Julia Bryan-Wilson, Clement Cheroux, Durga Chew-Bose, Stuart Comer, Keller Easterling, Paul Flynn, Sophie Hackett
Encompassing photography, installation, print media, video and more, this publication is the most comprehensive account of Tillmans' wide-ranging career to date.
A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, ecstatic images of nightlife to cameraless abstractions, sensitive portraits to architectural studies, astronomical phenomena to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with how to make new pictures and deepen the viewer's experience.
Published in conjunction with a major exhibition of Tillmans' work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist's career. An outstanding group of writers offer diverse essays addressing key threads of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs. Wolfgang Tillmans: To look without fear grants readers new insight into the work of an artist who has not only changed the way photography is exhibited but pointed contemporary art in dynamic new directions.
Wolfgang Tillmans (born 1968) is among the most influential contemporary artists, and the impact of his work registers across the arts, intersecting with fashion, music, architecture, the performing arts and activism. Tillmans is the recipient of the Turner Prize (2000) and the Hasselblad Foundation International Award in Photography (2015). His foundation, Between Bridges, supports the advancement of democracy, international understanding, the arts and LGBTQ rights.
1969, English / French / German / Italian
Softcover binder (w. spring-loaded plate), 170 pages, 31.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Bern / Bern
$600.00 - Out of stock
One of the great art documents of the 20th century, the original printing of the legendary catalogue for "Live in Your Head : When Attitudes Become Form", curated by Harald Szeemann at the Kunsthalle Bern in Switzerland, March 22 - April 27, 1969. Very rare original 1969 edition!
Sponsored by the Philip Morris tobacco company, this was an important, extensive and primary exhibition dedicated to the amalgam of Pop, Minimal and Conceptual Art in Europe and the United States. The catalogue itself is designed and produced by Szeemann, and printed in Switzerland by Stämpfli & Cie in Bern. Alongside those of Seth Siegelaub, Szeemann's now historical catalogues changed the way exhibition publishing performed. Presented as a indexical binder (spring-bound with a metal plate) forming an index of alphabetical artist pages and accompanying texts. Includes a biography, bibliography, illustrations and portrait for each artist.
Texts by Harald Szeemann, Scott Burton, Grégoire Müller and Tommaso Trini.
Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Alighiero Boetti, Hanne Darboven, Jan Dibbets, Ger Van Elk, Rafael Ferrer, Barry Flanagan, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Jo Ann Kaplan, Eva Hesse, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Paul Pechter, Panamarenko, Michelangelo Pisteletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Alan Saret, Sarkis, Jean-Frédéric Schnyder, Fred Sandback, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Viner, Erhard Walther, Lawrence Weiner, William Wegman, William Wiley and Gilberto Zorio.
Texts in English, French, German and Italian.
Light wear and marking to folder covers, internal rubbing from metal plate, previous owners name and "69" to top of inside cover, otherwise very good copy throughout, complete.
2022, English
Hardcover, 128 pages, 22 x 17 cm
Published by
After 8 Books / Paris
$65.00 - In stock -
An artist’s book by New York–based author and artist Sam Pulitzer, this volume combines photographs with ethical and existential questions addressed to the viewer, in an allegory of the contemporary condition. These photographs of everyday things, ambiguous details, nondescript landscapes and cityscapes were mostly taken in New York, although the city appears as the pale reflection of a model city. The montages offer a complex, personal, at times satirical image of the present.An original essay by Pulitzer unfolds the project’s philosophical and political issues, notably discussing a key reference for the project, Ernst Bloch’s The Principle of Hope.
2021, English
Hardcover (w. dust jacket), 312 pages, 23.2 x 15.9 cm
Published by
Zone Books / New York
$59.00 - Out of stock
Flashback, Eclipse is a groundbreaking study of 1960s Italian art and its troubled but also resourceful relation to the history and politics of the first part of the twentieth century and the aftermath of World War II. Most analyses have treated the 1960s in Italy as the decade of “presentism” par excellence, a political decade but one liberated from history. Romy Golan, however, makes the counterargument that 1960s Italian artists did not forget Italian and European history but rather reimagined it in oblique form. Her book identifies and explores this imaginary through two forms of nonlinear and decidedly nonpresentist forms of temporality—the flashback and the eclipse. In view of the photographic and filmic nature of these two concepts, the book’s analysis is largely mediated by black-and-white images culled from art, design, and architecture magazines, photo books, film stills, and exhibition documentation.
The book begins in Turin with Michelangelo Pistoletto’s Mirror Paintings; moves on to Campo urbano, a one-day event in the city of Como; and ends with the Vitalità del Negativo exhibition in Rome. What is being recalled and at other moments occluded are not only episodes of Italian nationalism and Fascism but also various liberatory moments of political and cultural resistance. The book’s main protagonists are, in order of appearance, artists Michelangelo Pistoletto and Giosetta Fioroni, photographer Ugo Mulas, Ettore Sottsass (as critic rather than designer), graphic designer Bruno Munari, curators Luciano Caramel and Achille Bonito Oliva, architect Piero Sartogo, Carla Lonzi (as artist as much as critic), filmmakers Michelangelo Antonioni and Bernardo Bertolucci, and, in flashback among the departed, painter Felice Casorati, writer Massimo Bontempelli, art historian Aby Warburg, architect Giuseppe Terragni, and Renaissance friar-philosopher-mathematician Giordano Bruno (as patron saint of the sixty-eighters).
“Adapting the cinematic and temporal processes of flashback and eclipse recruited by Italian artists and film directors in the 1960s, Golan creates her own montage, in which art and politics, history and criticism, as well as the memory and actuality of Fascism become enmeshed through techniques of ‘mimetic subversion.’ The result is a dazzling mosaic that stages contemporary auteurs, like Pistoletto and Antonioni, in conversation with the historical figures of Aby Warburg and Giordano Bruno. Based on this subtle historiographic strategy, Flashback, Eclipse not only challenges prewar and postwar periodizations in Italian art, but also reevaluates the performance of anachrony in the writing of art history.” —Spyros Papapetros, Associate Professor of History and Theory of Architecture, Princeton University
“Romy Golan explores the historical unconscious of 1960s Italian art as she opts for a new kind of temporality that is nonlinear and fractured. With a great command of film history, graphic design, and exhibition history, she presents us with an unprecedented study of Italian artworks experienced through their mediation, suggesting that we ought to look at the filters — the mirror images, hues, and experimental mise-en-page — that obliterate and reveal these works.” —Maria Antonella Pelizzari, Professor of Art History, Hunter College and The Graduate Center, City University of New York
“This masterful book reveals the richness and complexity of a poly- centric, dispersed, even anarchic art scene — the Italy of the 1960s — that no institution was powerful enough to unify, label, and export. It was known that Italy had been the laboratory of some of the most radical political experiments of the twentieth century, for better or for worse. Here we discover that, around 1968, it delivered the unexpected elements of a new political economy of the arts.” —Patricia Falguières, Professor of Renaissance Studies, École des Hautes Études en Sciences Sociales
1997, English / Dutch
Softcover, 500 pages, 17 x 24 cm
1st Edition, Out of print title / used / good
Published by
SUN / Nijmegen
$45.00 - Out of stock
First, only edition of Beyond Ethics and Aesthetics / Voorbij ethiek en esthetiek, a 500 page book based on the experiences during the formation, realization and evaluation of the exhibition: I + the Other. Art and the Human Condition, in the Beurs van Berlage, Amsterdam 1994. Edited by Ine Gevers and Jeanne Van Heeswijk.
"Beyond Ethics and Aesthetics has been compiled in the knowledge that it is impossible to avoid a history in which the meaning of ethics and aesthetics has already been fixed. Rooted in tradition, these notions determine the space and scope of contemporary practices such as fine art, exhibition-making and theory. Whenever an attempt is made to cross the dividing lines, for instance in trying to connect art with life, it becomes immediately apparent how unproductive it is to continue to com-ply with structures that are no longer functional in a technology- and information-based, postmodern society. This is particularly true when it becomes clear that notions such as ethics and aesthetics, which are basically idealistic, often have a controlling and, in this sense, limiting function. With this book we want to draw attention to the sometimes subtle, though often radical attempts to escape from the way modernity has divided the world into manageable and relatively safe specializations. The continuing institutionalization, 'museification' and 'mediaization' of our society provides an example. They seem to pull the above-mentioned obstructions even sharper into focus." — from book introduction
With contributions by Oscar van Alphen, Ute Meta Bauer, Yvonne P. Doderer, Marianne Brouwer, Martin Lucas, Adrian Piper, Simon Critchley, Helmut Draxler, Jean Fisher, Avital Geva, Ine Gevers, Jeanne van Heeswijk, Tijs Goldschmidt, Roy Villevoye, Multiple Autorenschaft, Jouke Kleerebezem, Viktor Misiano, Everlyn Nicodemus, Sadie Plant, Martha Rosler, Rob Schroder, Jorinde Seijdel, Barbara Steiner, Rirkrit Tiravanija, Krzysztof Wodiczko, Ross Sinclair, and more.
Good copy with some cover wear.
2022, English
Softcover, 336 pages, 27.5 x 20.8 cm
Published by
Walther König / Köln
$62.00 - In stock -
An artist's book of fungal portraiture.
Dutch artist Magali Reus’ (b. 1981) new photographic series, Knaves documents an array of mushrooms in headshot-like close up. As though in an al fresco portrait studio, the fungi are posed against backdrops of colourful vintage t-shirts – synthetic intrusions into the natural landscape. This beautifully designed artist book sets images from the series within the sepia-tinted pages of a 1990s telephone directory for Park Cities – an area of Dallas whose name acts as shorthand for the way in which urban design domesticates nature for ease of human use. Novelist, Kathryn Scanlan’s text zooms in on a series of fleeting quotidian dramas, mobilising a cast of evocatively named characters that, like Reus’ fungal protagonists, bloom and then disappear.
1980, Japanese
Softcover, 200 pages, 28 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
Futabasha / Tokyo
$45.00 - Out of stock
Rare issue of Japanese "men's magazine" Chat Noir, published in Shinjuku in 1980. Cover to cover full-colour female nude photography from Paris, around 200 pages of saturated colour, skin, and textiles, almost no text or advertising. Each model chapter has many pages, and there are about 30 models featured. Possibly these are all the photo features collected from a French magazine published in 1980?
Good copy with some waving to page edges, marking to cover.
1982, Japanese
Softcover (w. dust jacket), 160 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Haga Bookstore / Japan
$70.00 - In stock -
Lovely first 1982 edition of the Japanese photo-book / "Cine Album" dedicated entirely to German actress Nastassja Kinski (b. 1961). Profusely illustrated with film stills, inc. many from Cat People (1982), Tess (1979), Passion Flower Hotel (1978), Stay The Way You Are (1978), One From The Heart (1981)... press photos, behind the scenes shots, and movie posters to accompany filmography and much more, all reproduced in vivid colour and b/w gloss. Published by the great Haga Bookstore imprint.
Fine copy in dust jacket.
1962, German
Softcover, 190 pages, 21 x 16.8 cm
Numbered ed. 0688/2000,
1st Edition, Out of print title / used / fine
Published by
Gerhardt Verlag / Berlin
$400.00 - Out of stock
Very scarce first numbered edition of Bellmer's "Die Puppe", published by Gerhardt Verlag in Berlin in 1962. German artist Hans Bellmer (1902-1975) was one of the most subversive artists associated with Surrealism, famous--notorious, even--for his erotic engravings, objects and photographs. This collectable first edition (numbered of 2000 copies) of Die Puppe (The Doll) comprises a series of Bellmer's hand-painted photographs in the form of 10 monochrome and 15 coloured tipped-in plates accompanying his remarkable texts, here published for the first time. Bellmer's hand-coloured photographs subsequently acquired an iconic status as perhaps the purest exemplification of the Surrealist ideal of "convulsive beauty." Bellmer weaves a remarkably disparate set of concepts and intuitions--from fields as diverse as mathematics, morphology, optics and psychology--into a theory of eroticism that provides a totally unexpected rationale for his uncompromising art. His ideas are, in the words of poet Joë Bousquet, a "scandal to reason." The book also contains many b/w drawings by Bellmer along with prose poems by Paul Eluard. A book like no other!
Fine, perfectly preserved copy of this stunning edition with the die-cut decal cover.
2022, English / German
Softcover, 112 pages, 21 x 29 cm
Published by
Roma / Amsterdam
$69.00 - Out of stock
Jochen Lempert’s photographs begin with an encounter: his meeting with plants and animals, real or artificial representations in urban or rural settings, museum displays, scientific books, and more. The resulting images display a certain ease, a proximity that speaks to his comfort around his subjects. Rather than applying his scientific knowledge to what he photographs, he visually invites meaning through the act of seeing. ‘Pairs’ appears with an exhibition of Lempert’s work in Frankfurt am Main, curated by Yasmil Raymond and Deborah Müller. The juxtapositions in this series might be two pictures of the same subject, a pair of animals, or visually evocative matches.
2002, English
Softcover, 160 pages, 16.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Dis Voir / France
$35.00 - Out of stock
An artistic and literary journey through the soul of a dead and disembodied student, lost in the memories and infrastructure of a Californian High school.
In this first installment, French artist Pierre Huyghe chooses to encounter Canadian writer Douglas Coupland. High school yearbooks become the framework for constructing a narrative and characters and also for creating a meditation on memory.
“Huyghe and Coupland team up to explore the awkwardness and ironic sentimentality of high school. Culled from actual photos and real inscriptions from old '80s yearbooks, School Spirit exhumes the jocks, geeks and valley girls of a forgotten adolescence. The book is strung toghether by the story of one dead student, recalling the goofiness and despondency of the 'times of our lives'.”—BlackBook Magazine
The photographs, videos and installations produced by Pierre Huyghe (born 1962 in Paris, where he lives and works) question the conditions of representing reality and the shifts of meaning they give rise to. By using the aesthetics of an underrated daily round, the artists suggests the limits of our knowledge, based restrictively on the interpretation of the world. Situated somewhere between reality and make-believe, and steeped in the cinematographic world (repeats, remakes, and so on), his videos lead the viewer to question his own vision of the things surrounding him, and his relation to collective memory.
Douglas Coupland (born 1961 in Baden Söllingen, Gemrany) is a Canadian writer, visual artist, and designer. His first novel, Generation X, was an international bestseller. He has published fourteen novels, two collections of short stories, and seven nonfiction books; written and performed for the Royal Shakespeare Company; and has penned a number of works for film and television. He is a regular contributor to the New York Times, Wired magazine, and the Financial Times.
Good copy, some light general wear.
1996, Japanese
Softcover (w. dust jacket and obi strip), 192 pages, 15 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Heibonsha / Tokyo
$100.00 - In stock -
First edition of Araki's "Chiro, Araki and 2 Lovers", published as part of the Complete Works collection. A lovely collection of Araki's photographs of he and his wife Yoko's beloved cat, Chiro, in a variety of different moods and situations. On the balcony and on the roof of the neighborhood, on the sofa, in the shower, in Yoko's arms, on the sleeping belly of Araki... The figure of Chiro behaving freely, and Araki taking the shutter to love it. Poignant in retrospect as it includes a number of photos of Chiro with Yoko. Like Masahisa Fukase's "Sasuke", this is an intimate book for cats and photographers.
Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.
Very Good in good dust jacket with some wear, obi with some wear.
1996, Japanese
Softcover (w. dust jacket), 225 pages, 15 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Heibonsha / Tokyo
$100.00 - Out of stock
First edition of Araki's "Bodyscapes", the second in the series of the Complete Works collection. This beautiful collection focuses on the intimate nude portrait work of Araki, from the 1970 to the 1990s, mostly photographs of women, with a few men, and a little bondage. Although, as the title suggests, these are not nude pictures but "naked scenery", a word coined by Araki and legendary Japanese publisher Akira Suei at a time when it was not allowed to record the nude body public in Japan. Always one to challenge sexual taboos with radical techniques, this book captures Araki's trickery and mockery of the censors with his famed pubic hair shaving and soap bubble photos, pushing photographic freedom in the face of regulations that lead to dangerous definition of "obscenities". A gorgeous collection of Araki's nudes, lavishly reproduced in colour and black and white.
Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.
Very Good in VG dust jacket.
1997, Japanese
Softcover, 192 pages, 15 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Heibonsha / Tokyo
$140.00 - Out of stock
First edition of one of the finest of Araki's photo books, Sensual Flowers, dedicated entirely to his incredible flower photography collected for the first time together, spanning the 1980s—1990s. Published as part of the Complete Works collection, this wonderful book is filled with one of Araki's greatest loves, flowers. He began his photographic studies of flowers in earnest in the early 1970's, photographing dead bouquets from tombs at the Joruri Temple of Minowa, where he was born and raised. For Araki, the eroticism contained in the flower is extracted from its "life" and "death". Exquisitely exemplified here in this beautiful volume, where lush, vibrant bouquets bloom and deteriorate in sumptuous colour and b/w, in sensuous still life compositions and natural settings (w. lizards, food, cats). One of the finest Araki collections, as authoritatively seen as any flower photography by Penn, Mapplethorpe or Blossfeldt.
Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.
Very Good in good dust jacket and obi, light wear.
2014, English
Softcover, 160 pages, 52 x 80 cm
Published by
University of Chicago Press / Chicago
$44.00 - Out of stock
Ghost Image is made up of sixty-three short essays - meditations, memories, fantasies, and stories bordering on prose poems - and not a single image. Herve Guibert's brief, literary rumination on photography was written in response to Roland Barthes' Camera Lucida, but its deeply personal contents go far beyond that canonical text. Some essays talk of Guibert's parents and friends, some describe old family photographs and films, and spinning through them all are reflections on remembrance, narcissism, seduction, deception, death, and the phantom images that have been missed. Both a memoir and an exploration of the artistic process, Ghost Image not only reveals Guibert's particular experience as a gay artist captivated by the transience and physicality of his media and his life, but also his thoughts on the more technical aspects of his vocation. In one essay, Guibert searches through a cardboard box of family portraits for clues-answers, or even questions-about the lives of his parents and more distant relatives.
Rifling through vacation snapshots and the autographed images of long-forgotten film stars, Guibert muses, "I don't even recognize the faces, except occasionally that of an aunt or great-aunt, or the thin, fair face of my mother as a young girl." In other essays, he explains how he composes his photographs, and how - in writing - he seeks to escape and correct the inherent limits of his technique, to preserve those images lost to his technical failings as a photographer. With strains of Jean Genet and recurring themes that speak to the work of contemporary artists across a range of media, Guibert's Ghost Image is a beautifully written, melancholic ode to existence and art forms both fleeting and powerful - a unique memoir at the nexus of family, memory, desire, and photography.
HERVÉ GUIBERT (1955-1991) was a French writer and photographer. A critic for Le Monde, he was the author of some thirty books, most notably To the Friend Who Did Not Save My Life, which presents an intimate portrait of Michel Foucault and played a significant role in changing public attitudes in France towards AIDS.
1986, English
Softcover (staple-bound), 16 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$30.00 - Out of stock
Premier issue of the Athletic Model Guild trade catalogue of photos, slides, videos, and magazines, from the makers of the iconic Physique Pictorial magazine (back-issues also all listed). Packed with male nudes and their profiles. Published in 1986.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1991, English
Softcover (staple-bound), 32 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$40.00 - Out of stock
Athletic Model Guild's Nude Wrestlers & Wrestling Information Catalog (Vol. 2), published in 1991. Densely packed with photographs of full-frontal male nude models with catalog numbers relating to available VHS and Beta video tapes as well as cover and inner cover stills from the wrestling videos produced by AMG.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1970, English
Softcover (staple-bound), 32 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$60.00 - In stock -
Physique Pictorial Vol. 18, #1 January, 1970 issue of the iconic Physique Pictorial magazine from Los Angeles. Original issue packed with nude photographs and illustrations from various artists. Includes both covers by Tom of Finland.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1976, English
Softcover (staple-bound), 32 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Athletic Model Guild (AMG) / Los Angeles
$60.00 - Out of stock
Physique Pictorial Vol. 28 August, 1976 issue of the iconic Physique Pictorial magazine from Los Angeles. Original issue packed with nude photographs and illustrations from various artists. Includes cover artwork by Tom of Finland.
In 1945, gay pornography pioneer Bob Mizer founded Athletic Model Guild, or AMG. Mizer's AMG produced the trailblazing, iconic Physique Pictorial, the first all-nude and all-male magazine. Bob, himself, worked on every aspect of PP's production from the graphic design and tedious cut-and-paste production of the layout to the composition of the texts and the all-important selection of photographs and illustrations. Physique Pictorial was and still is the most highly coveted publication of its genre, introducing the world to such fantastic photographers such as Bruce of Los Angeles, Lon of London and Champion Studios, models such as John Apache, Jim Paris, and Tico Patterson, and artists such as Tom of Finland, Etienne and George Quaintance. In the 1960s, the pretense of being a digest about about exercise and fitness was dropped as controls on pornography were reduced. By the end of the decade gay pornography became legal, and the market for physique "beefcake" magazines collapsed. These magazines are a gorgeous time capsule.
Very Good copy.
1997, English
Hardcover (w. dust jacket), 830 pages
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$80.00 - Out of stock
First English edition of this monumental 830 page book for documenta X, the last documenta of the twentieth century and the first directed by a woman, the French curator Catherine David, brings together the work of more than 100 of the world's foremost thinkers, writers, and artists in an extraordinary anthology of seminal texts and images of, on, and about the development of Western cultural and critical theory since 1945.
The book "seeks to indicate a political context for the interpretation of artistic activities at the close of the twentieth century, through a montage of images and documents from the immediate post-war period to the present. The range of material treated here is not encyclopaedic; it represents a polemical attempt to isolate specific strands of artistic production and political endeavour which can be taken as references in the contemporary debate over the evolution of our societies. Drawing from distinct yet interrelated territorial and linguistic domains, the book singles out complex cultural responses to the unifying processes of global modernity."—from the book jacket.
A comprehensive work in itself, rich with enmeshed texts and illustrations of artworks, film stills, historical documents throughout in colour and in black and white.
Writers include: Theodor W. Adorno, Maurice Blanchot, Pier Paolo Pasolini, Paul Celan, Amílcar Cabral, Masao Miyoshi, Hannah Arendt, Michel Foucault, Gilles Deleuze, Félix Guattari, Jacques Rancière, Tadao Sato, Youssef Ishaghpour, Josef Beuys, Samuel Beckett, Albert Camus, Rainer Werner Fassbinder, Rem Koolhaas, Sandra Álvarez de Toledo, Witold Gombrowicz, Herve Joubert-Laurencin, Jean-François Chevrier, Marguerite Duras, Edward Said, Henri Alleg, Pierre Vidal-Naquet, Uwe Johnson, Jerzy Grotowski, James Clifford, Primo Levi, Pierre Clastres, Andrea Branzi, Fabrizio Gallanti, Gérard Chaliand, Stig Björkman, Daniel Defert, Saskia Sassen, Catherine David, Benjamin Buchloh, Paul Virilio, Serge Daney, Étienne Balibar, Nadia Tazi, and many others.....
Artists include : Archigram, Martin Kippenberger, Archizoom Associati, Art & Language, Hans Haacke, Oyvind Fahlström, Samuel Beckett, Franz West, Andrea Zittel, Heimo Zobernig, Nancy Spero, Jean-Luc Godard, Marcel Broodthaers, Lygia Clark, Jörg Herold, Fischli & Weiss, Dan Graham, Robert Adams, Peter Friedl, Paweł Althamer, Liam Gillick, Mike Kelley & Tony Oursler & Diedrich Diederichsen, Stan Douglas, Harun Farocki, Ed van der Elsken, Walker Evans, Aldo van Eyck, Heiner Goebbels, William Kentridge, Ulrike Grossarth, Richard Hamilton, Vito Acconci, Raymond Hains, Pier Paolo Pasolini, Siobhán Hapaska, Ecke Bonk, Carsten Höller & Rosemarie Trockel, Carl Michael von Hausswolff, Lois Weinberger, Hélio Oiticica, Gabriel Orozco, Olaf Nicolai, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Marc Pataut, Gordon Matta-Clark, Christian Philipp Müller, Matt Mullican, Antoni Muntadas, Jean-Luc Moulène, Reinhard Mucha, Álvaro Siza, Toyo Ito, John C. Portman Jr., Paulo Mendes da Rocha, Mariella Mosler, Josef Beuys, Steve McQueen, Chris Marker, Lothar Baumgarten, Jean Dubuffet, Kerry James Marshall, Maria Lassnig, Rem Koolhaas, Joachim Koester, Suzanne Lafont, Sigalit Landau, Helen Levitt, Garry Winogrand, Brassaï, Le Corbusier, Antonin Artaud, and so many more...
Very Good coy, light wear. Good dust jacket with some creasing and edge wear.
2019, English
Softcover, 176 pages, 20 x 27 cm
Published by
MACK / London
$86.00 - In stock -
From 1970 Luigi Ghirri roamed around the houses, streets, squares and suburbs in his adoptive town of Modena and built a body of early work which contains within it signposts to many of the directions his practice would subsequently take. Most of the time he worked in Modena, only occasionally travelling further afield to the beaches of Rimini on the Adriatic or the Swiss Lakes. He began to map out projects and themes – some specifically grouped around a subject, others gathered around a more poetic organising principle. One of the latter was Colazione sull’Erba (Breakfast on the Grass) in which he bought together photographs made between 1972 and 1974 on the outskirts of Modena which he states he “visited in an ironic and anxious manner”. His focus was the juncture of nature and artifice in the man-made environment; the symmetries of cypress trees, well-kept lawns, the personalising touch of plants in pots, palm trees and cacti with their promise of somewhere else.
Modeled on Kodachrome, Ghirri’s seminal paean to photography which he self-published in 1978, this volume is the first book in a planned series which will take Ghirri’s original categories for his own work as the basis for a collection elaborating the great photographer’s oeuvre.
2014, English
Softcover, 512 pages, 14 x 21.6 cm
Published by
Nightboat Books / New York
$49.00 - Out of stock
The long-awaited English-language translation of Hervé Guibert’s arresting journals.
The Mausoleum of Lovers comprises Guibert's journals, kept from 1976-1991. Functioning as an atelier, it forecasts the writing of a novel, which does not materialize as such; the journal itself - a mausoleum of lovers - comes to take its place. The sensual exigencies and untempered forms of address in this epistolary work, often compared to Barthes' A Lover's Discourse, use the letter and the photograph in a work that hovers between forms, in anticipation of its own disintegration.
Translated by Keshii Pelao Nathanaël.
Hervé Guibert (1955–1991) was a French writer and photographer. A critic for Le Monde, he was the author of some thirty books, most notably To the Friend Who Did Not Save My Life, which presents an intimate portrait of Michel Foucault and played a significant role in changing public attitudes in France towards AIDS.
2022, English
Softcover, 47 pages, 21 x 15 cm
Published by
Magic Hour Press / New York
$37.00 - In stock -
On December 18, 1974, Linda Rosenkrantz asked her friend Peter Hujar to write down everything he did one day. Hujar met Rosenkrantz at her apartment on 94th street the following day where she asked him about it in detail. She tape-recorded their conversation and this book is a full transcript of that exchange, published here for the first time since it was recorded 47 years ago.
“Peter Hujar’s monologue, prompted by Linda Rosenkranz, is a Warholian gem, and a prize discovery for Magic Hour Press.”—Moyra Davey