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
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World Food Books Gift Voucher
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Australian Art
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'Pataphysics / Oulipo
Fluxus
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Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
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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.
1977, French
Softcover (staple-bound), 98 pages, 29 x 21 cm
1st Edition, Out of print title / used / average
Published by
Éditions Mondio-Vidéo / France
$85.00 - In stock -
Rare December 1977 issue of French men's magazine le Nouvel Absolu, with cover by french photographer Jacques Bourboulon, featuring photographic features by Bourboulon, Roland Carre, photo stories on the film The Last Romantic Lover (1978), American truckers, French illustrator Michel Gourdon, French painter Camille Hilaire, Charles Bukowski, ski kamikazes, futuristic Renaults, and much more.
Very Good copy but listed as Average due to one photograph of "Karen" spread cut from page by previous owner.
1993, Japanese
Softcover (w. dust jacket), 208 pages, 21 x 14.8 cm
Out of print title / used / fine
Published by
Haga Bookstore / Japan
$80.00 - Out of stock
The wonderful Japanese photo-book / "Cine Album" that documents the work of François Truffaut, father of French new wave, profusely illustrated with all of his films illustrated with lush colour and b/w photographs, photofiles on all the stars of his films, many behind the scenes images, interviews with actresses Isabelle Adjani and Sabine Haudepin, even a chapter on Truffaut's film company Les Films du Carrosse, complete filmography, and much more. Absolutely exploding with hundreds of images crammed into over 200 pages. The 400 Blows (1959), Jules and Jim (1962), Fahrenheit 451 (1966), Shoot the Piano Player (1960), Day for Night (1973), Two English Girls (1971), The Bride Wore Black (1968), The Soft Skin (1964), et al. A must for any fan. Published by the great Haga Bookstore imprint.
Fine copy in dust jacket.
1992, Japanese
Softcover (w. dust jacket), 208 pages, 21 x 14.8 cm
Out of print title / used / fine
Published by
Haga Bookstore / Japan
$80.00 - In stock -
The wonderful Japanese photo-book / "Cine Album" that documents Jean-Luc Godard's film works through to 1983, from "Tous les garçons s'appellent Patrick" (1957 w. Eric Rohmer) to "Lettre à Freddy Buache" (1982), each film chapter profusely illustrated with lush colour and b/w photographs summarising the scenes of the film, and including behind the scenes images, photofiles on all Godard's "stars", everyone is here — Anna, Isabelle, Jean-Paul, Brigitte, Chantal, Jean-Pierre, Anne, Hanna, Mick, Eddie, Marina, Nathalie, Macha... Absolutely exploding with hundreds of images crammed into over 200 pages. Published by the great Haga Bookstore imprint.
Fine copy in dust jacket.
2022, English
Softcover, 300 pages, 25 x 17.5 cm
Published by
Monash Art Projects / Victoria
$25.00 - In stock -
What is it like to make art the way the world is today? What is it to write about art? Every review you read in 2022 will attempt to answer these questions, whether it knows it or not. You can see it if you look hard enough. And in thinking about this we perhaps hold a candle to the darkness, or perhaps these questions are the light that allows us to see the darkness around us. Thank you for reading Memo lit by the world’s candlelight.
These are the reviews from 2021, the fourth year of Melbourne's Memo Review. Memo Review is Melbourne's only weekly art criticism, publishing reviews of "a broad variety of art exhibitions at public art museums, commercial galleries and smaller artist-run spaces in Melbourne, offering new critical perspectives from an up-and-coming younger generation of Australian art scholars, writers and artists."
Featuring contributions by A. D. S. Donaldson, Adelle Mills, Amelia Winata, Amy May Stuart, Anna Parlane, Audrey Schmidt, Babs Rapeport, Cameron Hurst, Chelsea Hopper, David Wlazlo, Diego Ramírez, Francis Plagne, Giles Fielke, Hilary Thurlow, Jarrod Zlatic, Léuli Eshrāghi, Luke Smythe, Matt Marasco, Michelle Guo, Miriam La Rosa, Paris Lettau, Philip Brophy, Rex Butler Sofia Skobeleva, Tara Heffernan, Tara Mcdowell, Timmah Ball, Ursula Cornelia De Leeuw, Victoria Perin, and Vincent Le.
2013, English
Softcover, 208 pages, 17.8 x 22.8 cm
Ed. of 800,
Published by
Galerie Buchholz / Köln
$90.00 - Out of stock
Gorgeous book published on the occasion of the exhibition “Neptune Society, San Francisco Columbarium, 4th Fl., Dome Room, South Wall, Tier 4, Niche 2” organised by Danh Vo at Galerie Buchholz, Berlin, 2012. Edited by Julie Ault, Heinz Peter Knes, Danh Vo, Christopher Müller & Daniel Buchholz.
In this exhibition and publication Danh Vo, Julie Ault and Heinz Peter Knes enter into a dialogue with the work of Martin Wong whose estate and collection was at the time (2012) stored and administered by Martin Wong’s mother Florence Wong Fie in the Wong family house in San Francisco.
Martin Wong (1946-1999) was born in Portland Oregon as the only son of Chinese immigrants Benjamin Fie and Florence Wong Fie. An important representative of the art scene in New York's lower East side in the 80s Martin Wong's house, as pictured in this publication, is a unique document of his life's work. In a variety of ways the contents of the house on the one hand reflects the wealth of reference in Martin Wong’s works, and over and above that the unique relationship between Martin Wong and his parents with all the necessarily complicated projections and possible misunderstandings such relationships entail.
This catalogue documents the collection of the artist Martin Wong. In numerous colour illustrations, photographs that Heinz Peter Knes took together with Danh Vo, the book depicts the interiors of the Wong Fie family residency in San Francisco filled with paintings, sculptures, and multifaceted objects from very specific and diverse fields of interest such as asian antiques and americana that Martin Wong followed and collected together with his parents throughout is life. Accompanied by a text by Julie Ault who recalls the congruity of Martin owning a Piet Mondrian and storing it "close to splashing water in his sixth-floor walk-up apartment in a run-down building on New York's pre-gentrification Lower East Side...".
2022, English
2 softcover books in hard slipcase, 954 pages, 21.6 × 14 cm
Published by
Primary Information / New York
$60.00 - Out of stock
An essential anthology of fiction, art and more from the experimental, punk-feminist 1980s downtown journal, with work by Kathy Acker, Constance DeJong, Cookie Mueller and more.
Published between 1978 and 1991, Top Stories was a prose periodical specializing in experimental writing with a collaborative, punk-feminist ethos, edited by New York–based photographer Anne Turyn (born 1954). Turyn founded the publication in Buffalo, New York, before moving the operation to Chelsea in the 1980s, where issues were produced in Chinatown, distributed by mail order and through Printed Matter, and printed in runs between 500 and 2,000. With 29 issues in total, the publication played a key historical role in the development of the group of artists and writers who helped define the “downtown” scene of the 1980s.
All 29 issues of the periodical are collected in this anthology, which compiles experimental fiction, art, photography and graphic design.
Primary contributors include Kathy Acker, Laurie Anderson, Sheila Ascher, Douglas Blau, Lisa Bloomfield, Linda L. Cathcart, Cheryl Clarke, Susan Daitch, Constance DeJong, Jane Dickson, Judith Doyle, Lee Eiferman, Robert Fiengo, Joe Gibbons, Pati Hill, Jenny Holzer, Gary Indiana, Tama Janowitz, Suzanne Jackson, Suzanne Johnson, Caryl Jones-Sylvester, Mary Kelly, Judy Linn, Micki McGee, Ursule Molinaro, Cookie Mueller, Peter Nadin, Linda Neaman, Glenn O’Brien, Romaine Perin, Richard Prince, Lou Robinson, Janet Stein, Dennis Straus, Sekou Sundiata, Leslie Thornton, Kirsten Thorup, Lynne Tillman, Anne Turyn, Gail Vachon, Brian Wallis, Jane Warrick, and Donna Wyszomierski.
David Armstrong, Nan Goldin, JT Hryvniak, Peter Hujar, Nancy Linn, Trish McAdams, Linda Neaman, Marcia Resnick, Michael Sticht, and Aja Thorup all make appearances as well, contributing artwork for the covers or as illustrations.
1992, Japanese
Softcover, 140 pages, 30 x 24 cm
1st Edition, Out of print title / used / very good
Published by
i-D / Tokyo
$40.00 - Out of stock
Vintage 1992 issue of i-D JAPAN, Tokyo's version of the famed youth culture magazine founded by designer and former Vogue art director Terry Jones in London 1980. "Ideas, Fashion, Clubs, Music, People." Always a time-capsule, even in Japanese, this issue could well be called the Cyberpunk issue, packed to the brim with articles on J.G. Ballard, the "Post Human" exhibition (Paul McCarthy, Jeff Koons, Cindy Sherman, Ashley Bickerton, Charles Ray, Christian Marclay, Taro Chiezo), a "Neo Full-Metal Dialogue" between body horror/cyberpunk director Shinya Tsukamoto (Tetsuo: The Iron Man) and actor Tomoroh Taguchi (Tetsuo himself!), space/rave fashion ("The Girl from Planet X"), pop singer Kahimi Karie, director Hajime Tabe, Australian painter and legendary Mambo artist David McKay, Brian Eno, Air Jordan, Gameboys, denim... and of course the huge photographic feature on the history "U.F.O.s".
"NEW RE-BIRTH OF HIP"!!
Very Good copy.
1991, Japanese
Softcover, 140 pages, 30 x 24 cm
1st Edition, Out of print title / used / very good
Published by
i-D / Tokyo
$40.00 - Out of stock
Vintage 1991 issue of i-D JAPAN, Tokyo's version of the famed youth culture magazine founded by designer and former Vogue art director Terry Jones in London 1980. "Ideas, Fashion, Clubs, Music, People." Always a time-capsule, even in Japanese, packed to the brim with early Hysteric Glamour, Deee Lite, Colin Wilson, De La Soul, wearable soundgear, Noise, Primal Scream, Clubbing, TV, Alberto Fujimori, Gameboys, levitating dogs, feet... and the photographic feature "I-Dentity Fashion". "For The Politicians of The Future"
Very Good copy.
2022, English
Hardcover (w. printed acetate jacket), 252 pages, 22.9 x 27.3 cm
Published by
Princeton University Press / New York
Pulitzer Arts Foundation / St. Louis
$95.00 - Out of stock
A richly illustrated exploration of Hannah Wilke’s provocative art and trailblazing feminism.
One of the most groundbreaking artists to emerge in American art in the 1960s, Hannah Wilke consistently challenged the prevailing narratives of women’s bodies and their representation throughout her career, until her untimely death in 1993. Wilke established a uniquely feminist iconography in virtually all of the mediums she engaged with—painting, sculpture, photography, video, and performance art—and offered a life-affirming expression of vitality and bodily pleasure in her work.
Hannah Wilke: Art for Life’s Sake highlights the artist’s full range of expression, bringing together photographs, works on paper, video, and examples of Wilke’s sculptures in clay and other, nonconventional materials such as latex, kneaded erasers, and chewing gum. New object photography brings clarity to Wilke’s boundary-crossing art practice, making many of her rarely shown works accessible to readers for the first time. The book features a previously unpublished 1975 interview with Wilke by art critic and historian Cindy Nemser as well as a narrative chronology of Wilke’s art and life with many previously unpublished archival photographs. It includes essays by Glenn Adamson, Connie Butler, and Tamara Schenkenberg, and responses to Wilke’s work by contemporary artists Hayv Kahraman, Nadia Myre, Jeanine Oleson, and Catherine Opie.
Offering fresh perspectives on this influential artist, Hannah Wilke: Art for Life’s Sake sheds new light on Wilke’s technical and formal virtuosity, her important role in shaping postwar American art, and the nuance and poignancy of her feminist subject matter.
Edited by Tamara Schenkenberg and Donna Wingate
Contributions by Glenn Adamson, Connie Butler, Tamara Schenkenberg
Tamara H. Schenkenberg is curator at the Pulitzer Arts Foundation.
Donna Wingate is a New York-based editor.
Glenn Adamson is an independent curator and writer and a senior scholar at the Yale Center for British Art.
Connie Butler is chief curator at the Hammer Museum.
2018, English / French
Softcover (w. dust jacket), 200 pages, 24 x 32 cm
Published by
B. Frank Books
$95.00 - In stock -
For this beautiful and unique photobook, Danish artist and photographer Kasper Akhøj documented the ongoing restoration of E-1027, Eileen Gray’s modernist villa in France. Based on photographs taken by Gray which were first published in 1929, Akhøj’s photographs are a kind of remake, recreating the perspective and composition of the originals. During several visits to the villa between 2009 and 2017, he produced up to six versions of each of Gray’s images, but only included one of them here. The overlap of chronologies emphasises the restoration process and references the fascinating influence of a succession of occupants. With essays by Beatriz Colomina and Amy Zion, plus an interview with Akhøj.
2015, English
Softcover (french-folds), 608 pages, 24 x 17 cm
Published by
Ridinghouse / London
$65.00 - In stock -
Art historian and curator Dawn Ades is a leading voice on Dada, Surrealism, abstraction and art from Latin America. Ades addresses themes fundamental to the history of modern art and the avant-garde, across time periods and art movements, from Europe to the Americas. She offers alternative readings and investigates the particular dynamics that affect the ways images and objects are produced, presented and received.
With topics ranging from close-up photography to the female subject in Mexico, and from automatism to photomontage, as well as monographic essays on artists such as Francis Bacon, Salvador Dali, Marcel Duchamp and Hannah Hoch, this collection explores major figures of the twentieth century as well as art beyond the canon. The selected writings are divided into sections that correspond to the overarching concerns of gender, identity, the impact of new mediums and the enduring significance of the materials of art.
1968, French
Hardcover, 112 pages, 35 x 27 cm
1st Edition, Out of print title / used / very good
Published by
André Balland / Paris
$800.00 - Out of stock
Legendary, super rare 1968 French photo book by Marc Attali and Jacques Delfau, here in the first and only hardcover edition published by André Balland in Paris. Beautifully produced, highly original voyeuristic photo/text celebration of the female form. Complemented by Delfau’s Dadaist text collages Les Érotiques Du Regard "is a frank meditation on the male gaze, an essay in pictures and a kind of concrete poetry where the typography has equal status with the imagery. Unlike many of the so-called erotic books from the 1960's, the "Free Love" era, Les Erotiques manages to examine the phenomenon of the male gaze, whilst at the same time doing the classically male thing of gazing." — Martin Parr (Parr, M. and Badger, G., The Photobook: A History, Vol.I, p.226)
Very Good copy, with loosened spine from binding, which is always the case with this heavy cover book, but pages all bound intact and clean. Some light chipping, minor splitting around the spine ends, hinges, but overall an excellent copy of this fragile book. Interior and covers in lovely condition.
2021, English
Softcover, 688 pages, 24 x 16.5 cm
Published by
Mousse / Milan
$79.00 - In stock -
Enrico Cattaneo: Studio Marconi 1968–78 is Fondazione Marconi’s first editorial project dedicated to the study, documentation, and mediation of the history and cultural heritage of this Milanese gallery, and the numerous personalities that have crossed its path. Created with the involvement of prominent figures in the international artistic and curatorial panorama, careful research in archives, and historical reconstruction, the project complements the foundation’s other promotional activities by which it seeks to tell this story, with particular attention to a transversal audience both geographically and generationally. The photo selection reproduced in this volume aims to document, albeit in a non-exhaustive way, Studio Marconi’s activities from 1968 to 1978 as seen through the eyes of Enrico Cattaneo, one of its most active photographers in those years.
Edited by Fondazione Marconi, Gió Marconi, and Alberto Salvadori
1995, Japanese
Softcover (w. dust jacket), 480 pages, 26 x 18.4 cm
1st Edition, Out of print title / used / very good
Published by
Core Magazine / Tokyo
$220.00 - Out of stock
Rare first 1995 edition of Japanese photographer Nobuyoshi Araki's bountiful book, Tokyo Sex, collecting his photographs of the Tokyo sex scene between 1983-1985. This is the ultimate augmented version of Araki's most controversial book from 1990, Tokyo Lucky Hole, cited by Martin Parr and Gerry Badger (in The Photobook Vol.1) as Araki's best and most famous work. Tokyo Lucky Hole was Araki's intimate document of Japan's sex industry in full flower and this huge, large-format book composed by Araki expands that collection, printing 1000 new photos of that time. Before Shinjuku's infamous red-light district was closed in 1985, Araki made this obsessive documentation of its every aspect: the pleasure-seekers and providers, street scenes, performances, peep-shows, parlours, parks, dungeons. This incredible collection reveals the core of Araki's art: the desire to create a portrait of Tokyo without the niceties (and prudishness) of convention. Bondage, cross-dressing, role-play, cos-play, femdom, from the capsule hotels and bars to famed sex shops such as the Pink Salon, Cabaret, and Soapland, this is the last word on an age of bacchanalia, infused with great humour, self-expression and poetry. Published by the legendary photo publisher, Akira Suei.
Very Good copy in Very Good dust jacket.
2017, English
Softcover, 44 pages, 22 x 23 cm
Edition of 500
Published by
Robert Heald Gallery / Wellington
$30.00 - Out of stock
Catalogue published by Robert Heald Gallery, Wellington, on the occasion of the exhibition 'Miroslav Tichý', Robert Heald Gallery, 14 September 2017 - 14 October 2017. Illustrated throughout in colour with a beautiful selection of Tichý's photographs featured in the exhibition, accompanied by a new text by Serena Bentley.
Miroslav Tichy (1926-2011)
After studying at the Academy of Arts in Prague (1945-48), Miroslav Tichy withdrew to a life in isolation in his hometown of Kyjov, Moravia, Czech Republic. In the late 1950s he quit painting and became a distinctive Diogenes-like figure. From the end of the 1960s he began to take photographs mainly of local women, in part with cameras he made by hand. He later mounted them on hand-made frames, added finishing touches with pencil, and thus moved them from photography in the direction of drawing. The result are works of strikingly unusual formal qualities, which disregard the rules of conventional photography. They constitute a large oeuvre of poetic, dreamlike views of feminine beauty in a small town under the Czechoslovak Communist regime.
1992, English
Hardcover, 32 pages, 20.3 x 25.4 cm
Out of print title / used / good
Published by
ABDO & Daughters / Minneapolis
$25.00 - Out of stock
Rare hardcover book on actress and model, Brook Shields. Published in 1992 as part of the ‘Cover Girls’ series of profile books by Minneapolis publisher ABDO & Daughters, focussing on prominent models in the early 1990s. The book describes the early career of Brooke Shields and how she achieved success as a fashion model. Includes her goals and personal beauty tips. Illustrated throughout with black and white images and ending with her contact address with The Ford Model Agency in New York.
Ex-Libris copy with associated stickers/cards/stamps, otherwise Good in every way.
1970, Czech
Hardcover (w. dust jacket), 172 pages, 17 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Odeon / Prague
$120.00 - Out of stock
First edition of this major, long out-of-print hardcover monograph on Czech photographer Jaromír Funke, published by the great Prague publishing house Odeon in 1970. Profusely illustrated with 132 beautiful photo-gravure reproductions, includes some of the best known photographs from this important Czech photographer, presented alongside a text by Ludvik Soucek.
Jaromír Funke (1896–1945) was a Czech photographer. Funke was a leading figure in Czech photography during the 1920s and 1930s. Although his earliest imagery was influenced by Pictorialism, Funke quickly turned to a more sharp-focus, documentary style. Abstract images of shadows and organic forms made in the early twenties evolved into more objective representations of objects by the end of the decade. In 1924 he cofounded the Czech Photographic Society with Josef Sudek and Adolf Schneeberger. Two years later he produced a series of Surrealist images of store windows originally titled Glass and Reflection, based on the photographs of Eugène Atget. Also influential as a teacher, Funke served for several years as editor of the journal Fotograficky obzor (Photographic Horizons).
Very Good copy in Good dust jacket with some wear.
2016, English
Hardcover (w. dust jacket), 124 pages, 25 x 21 cm
Published by
Art and Theory Publishing / Stockholm
$110.00 - Out of stock
"Originally published in 1967, Poste Restante has become one of the most collectible photography books from the mid-twentieth century, ranking alongside the better-known publications of Robert Frank and Ed van der Elsken. This photographic autobiography details Strömholm's extensive travels across the globe in a book constructed as an Existentialist diary. Juxtaposing the urbane and the macabre, combining portraiture and street scenes with abstract photographic fragments, the book uses metaphor and visual pun in an unrelenting stream of consciousness. In its sequence and design, it is a book that prefigures much of contemporary photographic publishing and art practice." (from the never published 2010 reprint-announcement)
Christer Strömholm, born in 1918 in Sweden, began his photographic career in earnest in 1958, traveling to places like Paris, Los Angeles, Tokyo, Calcutta, and Nairobi. This is the first English edition of most acclaimed collection, ‘Poste Restante’, a book originally published in Swedish in 1967. It comprises the original photographs, layout, and texts, including the unrevised introduction from 1967, a text based on a taped interview with Strömholm conducted over five days at a hotel in Paris titled “Before the Photographs”, wherein he recounts childhood memories and his experiences during World War II.
Included in "The Photobook: A History Volume I" by Parr/Badger.
2022, English
Softcover, 352 pages, 25 x 16 cm
Published by
MoMA / New York
$89.00 - In stock -
"Wolfgang Tillmans is not only a great artist, he's a joyous intellectual whose generosity, wit and good-natured skepticism is political, authentic and playfully profound." — John Waters
"For over 30 years, Wolfgang Tillmans has been surveying culture and politics, as attentive to the production of news as he is to the radical intimacies of the nightclub or protest. Through his lens the world recovers its complexity. In an era of dangerous simplifications, we need his work more than ever." — Olivia Laing
This volume offers a panoramic collection of interviews and writings from an artist for whom language has always been a significant means of creative expression. Arranged chronologically, the assembled texts reflect Tillmans' thinking on photography, music, politics, nightlife, astronomy, spirituality and activism. The sources are as varied as their content, with statements and conversations that originally appeared in exhibition catalogues rubbing up against social-media posts and song lyrics.
Whether discussing his own work as a photographer or drawing out the thoughts of others, Tillmans is a generous interlocutor with a refreshing clarity of thought. This visually rich and timely publication tracks Tillmans' contributions to art and cultural criticism in tandem with the social and cultural shifts of the past 30 years.
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. Known for his genre-defying practice and ongoing investigation into the photographic medium, 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.
2017, English / German
Softcover, 431 pages, 20.3 x 27.1 cm
Published by
Walther König / Köln
$65.00 $15.00 - In stock -
This publication documents the first forty years of exhibitions at the Museum Ludwig through an archive of installations and ephemera. It includes impressions from all the directors of the institution as well as the architects of the building. The conceptual starting point is the anniversary exhibition "We Call It Ludwig: The Museum Is Turning 40!" (2016), which is reflected here in a complete overview of all the works on display. For the anniversary exhibition, which was jointly conceived by the director and all the museum’s curators, twenty-five international artists and artist collectives were invited to engage in depth with the institution and to react to the question of what the Museum Ludwig means to them.
Participating artists included Georges Adéagbo, Ai Weiwei, Ei Arakawa & Michel Auder, Minerva Cuevas, Maria Eichhorn, Andrea Fraser, Meschac Gaba, Guerrilla Girls, Hans Haacke, Diango Hernández, Candida Höfer, Bodys Isek Kingelez, Kuehn Malvezzi, Christian Philipp Müller, Marcel Odenbach, Ahmet Ögüt, Claes Oldenburg, Pratchaya Phinthong, Alexandra Pirici & Manuel Pelmuş, Gerhard Richter, Avery Singer, Jürgen Stollhans, Rosemarie Trockel, Villa Design Group, Christopher Williams.
The expansive archive portion of this large book includes important work by countless artists spanning 40 years.
Edited by Yilmaz Dziewior
2022, English
Hardcover (w. dust jacket in hard cloth-covered slipcase w. softcover supplement), 252 pages, 34 x 25 cm
Published by
Hauser & Wirth / Zurich
$190.00 - In stock -
Duchamp’s historic 1959 catalogue raisonné-cum-artist's book now back in print in a facsimile English edition. ‘Marcel Duchamp’ became the go-to book on the artist for many decades following its publication in late 1959, when exclusive grand-deluxe and deluxe editions in French, along with trade editions in French and English, were simultaneously released. While Trianon Press’s French trade edition was reprinted numerous times, the Grove Press English edition languished out of print for the better part of two generations—until now, with Hauser & Wirth Publishers’ fully authorized facsimile re-edition.
By Robert Lebel. Edited by Jean-Jacques Lebel and Association Marcel Duchamp. Foreword by Harald Falckenberg. Introduction by Michaela Unterdörfer. Text by Marcel Duchamp, André Breton, Henri-Pierre Roché, Jean-Jacques Lebel, Man Ray, Michael Taylor.
Marcel Duchamp, the artist’s first legendary monograph and draft catalogue raisonné, was written by art historian and novelist Robert Lebel and published in French in 1959; later that same year, it was translated into English by George Heard Hamilton for Grove Press. The book was a cooperation between Lebel and Duchamp, and beyond Lebel’s extensive writing and bibliography, additional chapters were authored by Duchamp, H.P. Roché and André Breton. The coupling of these texts with diverse archival photographs and an illustrated compendium of Duchamp’s artworks delivered a complex and personal rendering of the artist’s life and inner circle. For the first time since its release more than 60 years ago, this landmark publication is back in circulation with Hauser & Wirth Publishers’ meticulous facsimile of the English edition, reflecting everything from its hand-tipped images to its recto-verso dust jacket appearing as close to the original as possible.
Fully authorized by artist Jean-Jacques Lebel—Robert Lebel’s son—and the Association Marcel Duchamp, the facsimile is accompanied by a supplement volume of essays and archival material that tells the story of Duchamp and Lebel’s close collaboration, and, as contributor Michael Taylor writes, how the original publication signified a "sea change in the artist’s receptivity to critical interpretation." The supplement includes texts by both Robert and Jean-Jacques Lebel and a newly discovered note by Man Ray, among a bevy of photographs from the Lebel and Duchamp archives, extending the story presented in the 1959 edition.
Robert Lebel’s analysis of Duchamp’s oeuvre remains fresh to this day, as does the book’s design, which was personally supervised by the artist. Hauser & Wirth Publishers reanimated Marcel Duchamp with the curatorial-design firm fluid, who recast the original typefaces as digital fonts, positioning each letter and image exactly as it was in the original. To achieve a near-exact facsimile, fluid consulted with paper conservators and printers to recreate the book with modern materials that match those available in 1959. This precise production quality assures that today’s readers will experience this historic book as Marcel Duchamp and Robert Lebel intended.
1984, Japanese / French / English
Softcover, 80 pages, 31 x 29 cm
1st Edition, Out of print title / used / average
Published by
PPS Telecommunications Company / Tokyo
$90.00 - Out of stock
Beautiful out-of-print over-sized Japanese Sarah Moon exhibition catalogue published in 1984 by Pacific Press Service, at the Photographic Society of Japan for an exhibition at Printemps Ginza in Tokyo. Profusely illustrated throughout in colour with the French photographer's works for fashion, editorial and advertising, as well her personal works, including her iconic work for Comme des Garçons, Cacharel, Vogue, Nova, Harper's Bazaar, Olympus and more. Includes texts by French critic Alain Jouffroy and Robert L. Kirschenbaum, and texts and interviews with the photographer herself, as well as an index of images, biography, and portraits of Moon.
Sarah Moon is a photographer born in 1941 in Vichy, France. Her Jewish family was forced to leave occupied France for England. As a teenager she studied drawing before working as a model in London and Paris (1960–1966) under the name Marielle Hadengue. She also became interested in photography, taking shots of her model colleagues. In 1970, she finally decided to spend all her time on photography rather than modelling, adopting Sarah Moon as her new name. In 1972, she shot the Pirelli calendar, the first woman to do so. After working for a long time with Cacharel, her reputation grew and she also received commissions from Chanel, Dior, Comme des Garçons and Vogue. In 1985, Moon moved into gallery and film work.
Average copy with some creasing damage to the covers, small tears and tanning/foxing to some pages.
1980, English
Softcover, 60 pages, 28 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Jurka / Amsterdam
$280.00 - In stock -
Very scarce first edition of Robert Mapplethorpe's Black Males, published in 1980 by Galerie Jurka, Amsterdam. Dutch gallery owner Robert Jurka was instrumental in the early reception of Robert Mapplethorpe’s photography in Europe, exhibiting for the first time many of his (now) world-renowned photographs. Following an early Mapplethorpe monograph from 1979, Jurka also published the first Black Males catalogue as part of the homonymous exhibition he organized in 1980 at Galerie Jurka. With an introductory essay by Edmund White, this first 1980 edition remains the most sought after printing of this beautiful and controversial series by Mapplethorpe.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Good copy throughout with light wear. Note coffee marking to covers and previous owner's name penned into first blank page. Interior otherwise clean, tight and overall well preserved.
1983, English
Softcover, 42 pages, 29 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Galerie Watari / Tokyo
$120.00 - Out of stock
Very scarce and beautiful Robert Mapplethorpe Japanese catalogue published on the occasion of his solo exhibition "Flowers" at Galerie Watari in Tokyo in 1983. Profusely illustrated throughout with a beautiful selection of Mapplethorpe's flower still-life photographs from 1981-82, followed by his photographs of Dennis Speight, Charles Bowman and Ron Simms, well known from his 1980 "Black Males" series, and "Marty and Veronica" from 1982. Includes English introduction by Sam Wagstaff, Mapplethorpe self-portrait and printed signature, and exhibition history. Seldom seen Mapplethorpe book, filed perfectly alongside the great Galerie Jurka catalogues.
Robert Mapplethorpe (1946-1989) took his first photographs using a Polaroid camera. His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. Then he acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.
Good copy with some light marking/tanning to covers, otherwise Very Good copy, tightly bound and clean through.