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.
1975, English
Softcover, 220 pages, 27 x 22 cm
1st Edition, Out of print title / used / very good
Published by
E P Dutton / New York
$40.00 - Out of stock
First 1975 edition of "Merce Cunningham", published by E P Dutton, New York.
Between 1967 and 1972, editor/photographer James Klosty traveled with and documented the Merce Cunningham Dance Company (MCDC). As the partner of dancer Carolyn Brown, he had unprecedented access to Cunningham, John Cage, and the Company as a whole, and his stunning photographs - first published here in his 1975 book - provide a unique, riveting, and intimate insight into both the work, and life on tour. Includes incredible documentation of the rehearsals, recitals and lives of Merce Cunningham Dance Company. Features contributions by Cunningham's close collaborators, dancers, composers, peers, including : Carolyn Brown, Viola Farber, Yvonne Rainer, Douglas Dunn, Paul Taylor, Richard Nelson, Lewis L Lloyd, John Cage, Gordon Mumma, Earle Brown, Pauline Oliveros, Christian Wolff, Robert Rauschenberg, Jasper Johns, Lincoln Kirstein, and Edwin Denby. Introduction by James Klosty.
A Very Good - Fine copy of the first edition.
1985, English
Softcover, 592 pages, 15.5 x 23 cm
Published by
Johns Hopkins University Press / Baltimore
$30.00 - Out of stock
Edited by Marshall Blonsky
Published in 1985, this heavy volume functions as a unified voice proclaiming the power of semiotics to reveal the hidden practices and secrets of modern society. Marshall Blonsky has gathered original and newly translated written and illustrated contributions by highly visible forces in semiotic circles of the period, including Roland Barthes, Michel de Certeau, Jacques Derrida, Edmundo Desnoes, Umberto Eco, Michel Foucault, Julia Kristeva, Jacques Lacan, Jean Franco, Milton Glaser, Thomas A. Sebeok, Guido Crepax, Susan Meiselas and many others.
2016, English
Hardcover, 656 pages, 28.2 x 19 cm
Published by
Fondation Beyeler / Basel
Koenig Books / London
MMK / Frankfurt am Main
WIELS / Brussels
$100.00 - Out of stock
Felix Gonzalez-Torres (1957-1996) is one of the most influential artists of his generation. This catalogue includes both rarely seen and more known paintings, sculptures, photographic works, and public projects, reflecting the full scope of the artist’s short yet prolific career.
Specific Objects without Specific Form offered several exhibition versions (and none the authoritative one), all the better to present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the centre of his artwork.
At each venue in which the show was hosted, the exhibition was co-curated with, and re-installed/re-imagined by a different invited artist whose practice has been informed by Gonzalez-Torres’ work. Those artists are Danh Vo, Carol Bove, and Tino Sehgal.
Specific Objects without Specific Form acknowledges that the way an exhibition begins and ends its ‘story’, the emphasis it places on one aspect more than another, the way it presents individual artworks, the juxtapositions it constructs, the mood it creates, in addition to the way an exhibition is discursively presented — all of these potentially shift the way that a body of work might be understood by its public. And all of these participate in the construction of the meaning and reception of an oeuvre, which is to say, nothing less than the construction of history.
Published retrospectively after the exhibition at WIELS Contemporary Art Centre, Brussels (January – April 2010); Fondation Beyeler, Basel (May – August 2010); and MMK, Frankfurt am Main (January – April 2011).
1982, Japanese
Hardcover (w. dust jacket and obistrip), 240 pages, 19 x 14 cm
1st Edition, Out of print title / Used*,
Published by
Tojusha / Tokyo
$100.00 - Out of stock
Very rare, 1982 first printing of Nobuyoshi Araki's "Sentimental Journey 10th Anniversary" photobook. One of Araki's beautiful, scarce 1980's diary books, this volume "Records Araki and Yoko's month-long journey in June 1981 to France, Spain and Argentina to commemorate their tenth wedding anniversary, combining Yoko's writing and Araki's snapshots"--Kotaro Iizawa, Araki: Self, Life, Death. Texts in Japanese. Hardcover edition with original publisher's obi-strip.
Nobuyoshi Araki is a prolific Japanese photographer who has produced thousands of photographs over the course of his career. He became famous for “Un Voyage Sentimental” (1971), a series of photos depicting both banal and deeply intimate scenes of his wife and lifelong muse, essayist Aoki Yoko (whom the artist credits for making him a photographer), during their honeymoon. To date the 75 year old has produced 450 photo books and counting. With a repertoire that knows no boundaries, Araki's diaristic style of photography has captured the world around him (his cat Chiro, the people and landscapes of Japan and his travels, flowers, family), though it is Araki’s intensely sexual imagery that has elicited particular controversy and fascination throughout his career. Similarly to Helmut Newton, Araki has often addressed subversive themes — such as bondage in the Japanese style Kinbaku — in his provocative depictions of female nudes. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. Pushing against the world of commercialised photography, he is celebrated for his history of self-publishing and distributing his work, beginning with his Xerox Photo Albums of 1970. Amongst many others, Araki has collaborated with American photographer Nan Goldin and Icelandic musician Björk.
1981, Japanese
Softcover (w. dust jacket), 240 pages, 15 x 21 cm
1st Edition, Out of print title / Used*,
Published by
? / Japan
$100.00 - Out of stock
Very rare, early 1981 photo-book/diary by Japanese photographer Nobuyoshi Araki, who became an icon of photographic publishing and one of Japan's most celebrated and prolific photographers. This book was published as Araki's behind the scenes diary to High School Girl Fake Diary, a soft-core pink film, or pinku (a specific type of Japanese pornographic film made by independent studios) directed by Araki and released in 1981 by Nikkatsu movie studios under its Roman Porno genre – dramatised porn. The film was poorly received and disappointed fans of the genre and Araki himself, but the book, full of Araki's casual imagery on and off the set working and playing with the film's stars, technicians, composers and crew, became a sought-after oddity of Araki's publishing oeuvre. Not only is it a fine example of his famed early diary books, packed full of rarely seen Araki photographs, it also gives a rare and candid glimpse inside the world of independent film-making in Japan. Texts in Japanese.
Nobuyoshi Araki is a prolific Japanese photographer who has produced thousands of photographs over the course of his career. He became famous for “Un Voyage Sentimental” (1971), a series of photos depicting both banal and deeply intimate scenes of his wife and lifelong muse, essayist Aoki Yoko (whom the artist credits for making him a photographer), during their honeymoon. To date the 75 year old has produced 450 photo books and counting. With a repertoire that knows no boundaries, Araki's diaristic style of photography has captured the world around him (his cat Chiro, the people and landscapes of Japan and his travels, flowers, family), though it is Araki’s intensely sexual imagery that has elicited particular controversy and fascination throughout his career. Similarly to Helmut Newton, Araki has often addressed subversive themes — such as bondage in the Japanese style Kinbaku — in his provocative depictions of female nudes. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. Pushing against the world of commercialised photography, he is celebrated for his history of self-publishing and distributing his work, beginning with his Xerox Photo Albums of 1970. Amongst many others, Araki has collaborated with American photographer Nan Goldin and Icelandic musician Björk.
1983, Japanese
Hardcover (clothbound w. dustjacket), 151 pages, 20.5 x 30 cm
Out of print title / used / very good
Published by
Centre Georges Pompidou / Paris
Editions Filipacchi / Paris
Musee National D'art Moderne / Paris
Orion Press / Tokyo
$170.00 - Out of stock
Rare, exquisitely designed and produced book dedicated entirely to the photography of the German artist Hans Bellmer (13 March 1902 – 23 February 1975), best known for the life-sized pubescent female dolls he produced in the mid-1930s. "Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he'd been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925)."
Produced in French by Editions Filipacchi, Centre Georges Pompidou, and Musee National D'art Moderne in Paris in 1983, this very scarce Japanese printing (produced and printed in Japan that same year) features a different cover, with translations to the Japanese language of the introductory essay and texts. Densely illustrated with amazing and beautifully printed colour and black and white photography of Bellmer's dolls, many studies of the female nude, and photography of objects and sculptural assemblages, this book is a wonderful volume capturing an important Surrealist visionary of our time through his stunning photography.
Very good copy in dust-jacket, age tanning to edges/cover.
2018, English
Softcover, 200 pages, 21 x 15 cm
Published by
Self-Published / Melbourne
$40.00 - Out of stock
In Sandra Bridie b. 19--, Eight Fictions, artist Sandra Bridie presents eight fictional artists who bear her own name, but with different birthdates, imagined into the Melbourne art landscape of the 20th and 21st centuries. The artists are presented via interviews and documentation of their artwork. The oeuvres of the eight artists represented here include: photography, conceptual art, sculpture, performance, crafting, curatorship and text-based work. The artists range in age and ability from emerging artists to a grand dame of Melbourne abstract art. By presenting often tragi-comic characters who have to deal with good fortune, destiny, disaster, boredom, malaise, envy, distractions and lack of faith, Sandra hopes to present the artist as a recognisable creature in a familiar locale or milieu.
Self published and designed by Yanni Florence.
2017, English
Softcover (staple-bound), 36 pages, 21 x 15 cm
Edition of 20,
Published by
Self-Published
$10.00 $5.00 - In stock -
He’d been alive, but he’d only just woken. In his new state, he wrote letters to the local press, the subjects ranged but all shared dizzying fantasies of conspiracies he’d been pulping together. Though his accusations were never negative, he thought the corporations and governments were secretly striving for peace under the blood soaked veil of war and poverty.
Artist publication by Lewis Teague Wright (b. London, based in Mexico City). Published in an edition of 20 copies.
2017, English
Softcover (staple-bound), 36 pages, 21 x 15 cm
Second edition of 20,
Published by
Self-Published
$10.00 $5.00 - Out of stock
He sat down my aisle, bathing the air with a putrid odour. His eyes shone like polished glass, his iris’ so dark they merged with his pupils, two gigantic piss holes staring at me through the fat of his bulging cheeks.
Artist publication by Lewis Teague Wright (b. London, based in Mexico City). Published in an edition of 20 copies.
2002, English
Hardcover, 132 pages, 24 x 34 cm
Published by
Skira / Milan
$65.00 - Out of stock
Ettore Sottsass' intimate diary of writings, drawings and evocative photographs, taken by the designer himself between 1968 - 1976, with accompanying texts by editor Barbara Radice.
During the years of a protest and important time of analysis and critical reflection (initiated in the late 1960's through much of the 1970's) that involved The Italian Radical Movement, which developed parallel to Arte Povera and Conceptual Art, Sottsass had almost stopped designing. He named it as "a period of emptiness and introvert meditation. Of purification and release from everything that constituted the laws, customs and vocabulary of rationalist culture.’’ Debates were calling to reconsider the mechanisms of design, the role and responsibility of architects towards society and culture. Ettore wrote: "I felt a deep necessity to visit deserted places, mountains; to re-establish a physical relationship with the cosmos, which is the only real environment, precisely because it can’t be measured, foreseen, controlled or known… it seemed to me that if anything was to be regained we would have to begin by regaining microscopic gestures and elementary actions, the sense of one’s own position…’’
This book, designed and conceived by the designer himself, captures this important period. Between years 1968 and 1976 Ettore was in a constant movement traveling between his office in Milan and long escapes to Barcelona, Madrid, Granada and above all to the deserts close to Ebro river and the wild valleys of the Pyrenees. It was there that he started, together with his partner in this nomadic life, artist Eulalia Grau, the "Metaphors" series of photographs. Broken into the groupings "Designs for the destinies of man’’, "Designs for the rights of man’’, "Designs for the necessities of animals’’ and "Fiancées", these photographs and graphic constructions have been arranged by their author, revealing the complex cultural and visual roots of Sottsass’s work as well as offering us a glimpse of the great designer’s mental and creative processes, and his analyses of architecture, environment and anthropology.
1994, French
Softcover (French folds), 96 pages, 24 x 32 cm
1st Edition, Out of print title / used / fine
Published by
Bibliotheque de L'Image / Paris
$60.00 - Out of stock
First edition of this oversized photo-book dedicated to French actress, singer, dancer, fashion model, and animal rights activist, Brigitte Bardot. Spanning her entire career, this book features the colour and black and white photography of Don Honeyman, Kicia, Tabard, Philippe Halsman, Sam Levin, Studio Harcourt, E. Quinn, Willy Rizzo, De Sazo, Peter Basch, Roger Corbeau, Gihslain Dussart, Jim Gray, Sueva Gray, Sueva Vigeveno, Jean Claude Sauer, alongside film stills and commentary and text extracts (in French) by Marcel Achard, Roland Barthes, Simone De Beauvoir, Jean Cocteau, Nina Companez, Cournot, Marguerite Duras, Raymond Durgnat, Serge Gainsbourg, Sam Levin, Claude Mauriac, Frédéric Mitterand, Otto Preminger, Olga Hortig Primuz, Françoise Sagan, François Truffaut, and more.
Brigitte Bardot was an aspiring ballerina in her early life. She started her acting career in 1952. She achieved international recognition in 1957 after starring in the controversial film And God Created Woman. Bardot caught the attention of French intellectuals. She was the subject of Simone de Beauvoir's 1959 essay, The Lolita Syndrome, which described Bardot as a "locomotive of women's history" and built upon existentialist themes to declare her the first and most liberated woman of post-war France. She later starred in Jean-Luc Godard's 1963 film Le Mépris. For her role in Louis Malle's 1965 film Viva Maria! Bardot was nominated for a BAFTA Award for Best Foreign Actress. Bardot retired from the entertainment industry in 1973 to dedicate herself to animal rights activism. During her career in show business, she starred in 47 films, performed in several musical shows and recorded over 60 songs. She was awarded the Legion of Honour in 1985 but refused to accept it.
Fine, almost As New copy.
2018, English
Softcover, 240 pages, 22.5 x 28.5 cm
Published by
Walther König / Köln
$45.00 - Out of stock
Curated by Karola Kraus, the exhibition Optik Schröder II presents a representative selection from the collection of Alexander Schröder to date. This includes important works by Kai Althoff, Tom Burr, Bernadette Corporation, Claire Fontaine, Gelitin, Isa Genzken, Anne Imhof, Sergej Jensen, Pierre Klossowski, Manfred Pernice, Martha Rosler, and Reena Spaulings, and is one of the most important German private collections of contemporary art.
These works illustrate some of the key conceptual trends and positions in the development of Western art in the past three decades, including references to social issues, queer lifestyles, the critique of institutions and the economy, critical investigation of public spaces and architecture, poetry, and contemporary forms of critical painting. The prominently represented artists’ collectives exemplify endeavors to challenge and transform the traditional roles and systems of the artist, of art production, and of the sale of art.
This comprehensive overview shows a collection built up consistently since the mid-1990s and based on close proximity to the artists and sensitivity for new developments. The collection illustrates an exemplary philosophy of collecting focusing on the nature of the contemporary, on curiosity, expertise, humor, independence, and outstanding aesthetic judgement.
Participating Artists:
Kai Althoff, Lutz Bacher, Cosima von Bonin, KP Brehmer, Tom Burr, Merlin Carpenter, Marc Camille Chaimowicz, Anne Collier, Bernadette Corporation, Lukas Duwenhögger, Jana Euler, Cerith Wyn Evans, Claire Fontaine, Gelitin, Isa Genzken, Ull Hohn, Karl Holmqvist, Alex Hubbard, Peter Hujar, Anne Imhof, Sergej Jensen, Martin Kippenberger, Pierre Klossowski, John Knight, Michael Krebber, Mark Leckey, Klara Lidén, Lucy McKenzie, Christian Philipp Müller, Henrik Olesen, Paulina Olowska, Dietrich Orth, Manfred Pernice, Josephine Pryde, Martha Rosler, Cameron Rowland, Andreas Slominski, Reena Spaulings, Katja Strunz, Philippe Thomas, Danh Vo, Peter Wächtler
Designed by Studio Manuel Raeder.
2006, English / German
Softcover, 240 pages, 220 x 270 mm
Published by
Walther König / Köln
$75.00 - Out of stock
Catalogue from Optik Schröder, Werke aus der Sammlung Schröder, 2006 exhibition at Kunstverein Braunschweig.
Now out-of-print, this comprehensive book surveys the private art collection of gallerist Alexander Schröder, built up since the mid-1990s and featuring important artworks by Andreas Hofer, Andreas Slominski, Cerith Wyn Evans, Christian Flamm, Christian Philipp Müller, Clegg & Guttmann,Cosima von Bonin, Diedrich Orth, Guillaume Bijl, Henrik Olesen, Isa Genzken, Jan Timme, Jochen Klein, Josephine Pryde, Kai Althoff, Katharina Wulff, Katja Strunz, Keith Farquhar, Lucy McKenzie, Lukas Duwenhögger, Manfred Pernice, Mark Handforth, Martha Rosler, Michael Krebber, Paulina Olowska, Reena Spauling, Sergej jensen, Sharon Lockhart, Stephan Dillemuth, Thilo Heinzmann, Tom Burr, Torsten Slama, Ull Hohn, Marc Camille Chaimowicz, Enrico David, Mark Leckey ...
Profusely illustrated throughout with texts by Dominic Eichler, Isabelle Graw, and Karola Grasslin.
Designed by Manuel Raeder.
2017, English
Hardcover, 304 pages, 24.5 x 30.5 cm
Published by
Hatje Cantz / Berlin
Foundation Beyeler / Basel
$130.00 - Out of stock
In his creative artistic work, Wolfgang Tillmans revolutionised the medium of photography and opened it up towards other media. This catalogue is published on the occasion of an extensive exhibition of Tillmans's oeuvre at the Fondation Beyeler in Basel and arranges and groups his works in a fresh way.Beginning in the early nineties, Tillmans documented the people and situations in his immediate surroundings in scenes from London, New York, or Berlin, creating the portrait of a new generation in a style-defining manner. Since the late nineties he has been creating a greater number of cameraless, abstract images that develop from his direct work with and on photographic paper, some of which acquire a sculptural, object-like character. He has also been developing innovative, anti-hierarchical installations of his photographs in space in exhibition contexts.
2015, English / German
Softcover, 382 pages, 29.2 x 26.7 cm
Published by
Hatje Cantz / Berlin
$90.00 - Out of stock
The enormous paperback version of Wolfgang Tillmans' "Abstract Pictures".
From the start, Wolfgang Tillmans's abstract photographs played a decisive role in his gentle subversion of photographic hierarchies and his seductive emphasis on the materiality of photographic objects in his presentation of them. In the past decade he has pursued this tack, making wholly non-representational photographs that explore processes of exposure. From the delicate veils of color in the Blushes and Freischwimmer series, and the sculptural paper drops made of folded or rolled-up photographic paper, to the colorfully compelling works of the Lighter series, the printed object itself, divorced from its reproductive function, is always the point. “For me, the abstract picture is already objective because it's a concrete object and represents itself,” Tillmans says; “the paper on which the picture is printed is for me an object, there is no separating the picture from that which carries it. That's why I like to show photographs sometimes framed and sometimes not, just taped to the wall.”
Designed by the photographer, and with 275 color reproductions of these works, Abstract Pictures impressively demonstrates how fruitfully Tillmans has mined this terrain.
Text by Dominic Eichler
2017, English
Hardcover (clothbound), 248 pages, 18.5 x 26.5 cm
Published by
Sternberg Press / Berlin
LUMA Foundation / Zürich
Center for Curatorial Studies Bard College / New York
$74.00 $20.00 - Out of stock
Contributions by Amanda Beech, Rony Brauman, David Campbell, Olivia Custer, Rosalyn Deutsche, Thomas Keenan, Eric Kluitenberg, David Levine, Suhail Malik, Sohrab Mohebbi, Sharon Sliwinski, Hito Steyerl, Bernard Stiegler, Tirdad Zolghadr
It is difficult to imagine making claims for human rights without using images. For better or worse, images of protest, evidence, and assertion are the lingua franca of struggles for justice today. And they seem to come in a flood, more and more, day and night. But through which channels does the torrent pass? The Flood of Rights examines the pathways through which these images and ideas circulate—routes that do not merely enable, but actually shape human-rights claims and their conceptual background. What are the technologies and languages that structure the global distribution of humanism and universalism, and how do they leave their mark on these ideas themselves? Which narratives and imageries have proven easier to export and import, and whose interests are at stake in the configurations in question?
The Flood of Rights draws on a conference of the same name, organized by the LUMA Foundation and Center for Curatorial Studies at Bard College, which took place in Arles, France, in 2013.
Copublished with the LUMA Foundation and the Center for Curatorial Studies at Bard College, New York
Design by Zak Group
2014, English
Softcover, 102 pages, 19 x 23 cm
Published by
Extra City Kunsthal / Antwerp
GAK / Bremen
Roma / Amsterdam
$50.00 $20.00 - Out of stock
This Koenraad Dedobbeleer artist book is published in conjunction with exhibitions held in 2014 at Extra City Kunsthal, Antwerp, and GAK, Bremen. Its initial spark originated in the framework of the 'Up Close and Personal' exhibition at Cultuurcentrum Mechelen in 2013. The premises of that venue’s classical, museum-style exhibition halls serve as a container for an imaginative show. This publication lists the complete catalogue for that undertaking, with photographs and reproductions of the numerous and highly diverse works. It opens with an essay by Ad Reinhardt, “Angkor and Art” (1961), and concludes with a bibliography of works and installation diagram of the gallery spaces.
2018, English
Softcover, 280 pages, 27.9 x 21.5 cm
Published by
Walther König / Köln
$48.00 - Out of stock
299 792 458 m/s is a magazine created in 2016 by German artist David Lieske and photographer Rob Kulisek.
Issue 2 "The Overworked Body" is co-edited by curator Matthew Linde and functions not just as fashion magazine and artist's book but also as a catalogue for the eponymous exhibition at Mathew Gallery, New York (2017) titled "The Overworked Body: An Anthology of 2000's Dress", organised by Linde. The exhibition and associated "Overworked Runway" show (all documented extensively in full-colour here) includes works by 20471120, A.F. Vandevorst, Adeline André, Alexander McQueen for Target, Andrea Ayala Closa, Andrew Groves, Anke Loh, Ann-Sofie Back, Annalisa Dunn, Arkadius, As Four, Benjamin Cho, Bernadette Corporation, Bernhard Willhelm, BLESS, Carol Christian Poell, Christophe Coppens, Comme des Garçons, Cosmic Wonder, Dorothée Perret, Dutch Magazine, FINAL HOME, Helmut Lang, Hideki Seo, House of Holland, Hussein Chalayan, Imitation of Christ, Isaac Mizrahi for Target, Issey Miyake, Jean Paul Gaultier, Junya Watanabe, KEUPR/van BENTM, Kim Jones, Koji Arai, Kostas Murkudis, Lutz Huelle, Maison Martin Margiela, Maison Martin Margiela and Marina Faust, Miguel Adrover, Number (N)ine, Organization for Returning Fashion Interest, Proenza Schouler for Target, Purple Fashion, Rodarte for Target, Shelley Fox, Sophia Kokosalaki, Stephen Jones, Susan Cianciolo, Tao, Telfar, Undercover, Victoria Bartlett (previously VPL), Viktor & Rolf, Viktor & Rolf for H&M, Walter van Beirendonck, Wendy & Jim, Yohji Yamamoto, and ____fabrics interseason.
Full contents:
2018, English
Softcover, 78 pages, 18 x 25.5 cm
Ed. of 600,
Published by
Periodico / Zürich
$30.00 - Out of stock
Periodico is a new independent magazine from Zürich, edited by Marc Asekhame and Teo Schifferli.
ISSUE 002 12 17
Contents:
Editorial
Marc Asekhame in conversation with Matthew Hanson
Heji Shin
Middle of the Day - John Miller interviewed by Ilya Lipkin
COSTUME - Anthony Symonds in conversation with Calla Henkel and Max Pitegoff
RITORNELLO! - Emanuel Rossetti
Proposals for Future Covers
Printed in an edition of 600 copies.
2015, English
Softcover, 128 pages (colour ill.), 24 x 16 cm
Published by
Walther König / Köln
$38.00 - Out of stock
This book looks at a cross section of what cars ʻactuallyʼ look like in a global sampling and how they interact with the environment around them.
‘I wanted to show how cars appear in typical street view, which is rarely the subject of photographs. Cars are usually avoided in photography - one waits until a car has exited a view. The ordinary presence of cars is rarely worthy of representation.
Itʼs always the special car, or the extreme traffic jam or, of course, the exciting crash that is being pictured. The Cars pays tribute to the shapes and forms we look at every day. How much time we spend with them, sitting inside them, the endless hours we stare at a dashboard. Even if we donʼt own a car ourselves, their presence is unavoidable. Cars are everywhere. Their sheer number is the most crazy thing about them.
They appear in our lives with excessive omnipresence. In their volume cars intrude upon public space, and the way they occupy streets and open areas is rarely challenged. Virtually wherever there are people, there are cars and they are visually intermingling in whatever we see.
We are looking at the world from a car and cars are in the foreground, the background or in between of what is in our view. Where they are, they add a tone, a note, a presence, a noise to the setting theyʼre in...’
— Wolfgang Tillmans
2010, French
Softcover, 296 pages, 19.5 x 24 cm
1st Edition, Out of print title / used / very good
Published by
Purple Institute / Paris
$80.00 - Out of stock
Rare copy of the first and only issue of "Les Cahiers Purple".
As the extension of Purple Journal, and the diversion away from Purple Fashion, "Les Cahiers Purple" has the subtlety, sophistication and poetry expected from editor-in-chief Elein Fleiss. Through a diary-like feel, the publication captured the world through the lenses and words of a diverse array of collaborators and contributors from the worlds of fashion, photography, art, literature, poetry, design and much more.
Contributors included: Judith Affolter, Leonor Antunes, Jean-Christophe Bailly, Arnold Barkus, Laetitia Benat, Amit Berlowitz, Guillaume Besnier, Dike Blair, BLESS, Marcel Cohen, Sonia Collins, Cosmic Wonder Light Source, Geoffrey Cruickshank-Hagenbuckle, Tacida Dean, Gérard Duguet-Grasser, Pablo Durán, Anders Edström, Laura Erber, Fabrics Interseason, Oscar Faria, Mark Fishman, Elein Fleiss, Anne Frémy, Danièle Gibrat, Aki Goto, Pablo Guerra, Yannick Haenel, Nakako Hayashi, Michiko Hayashi, Takashi Homma, Kyotaro, Béatrice Leca, Yukari Miyagi, Valérie Mréjen, Raphaël Nadjari, Federico Nicolao, Paulo Nozolino, Gaëlle Obiégly, Jeff Rian, Daniel Riera, Dieter Roelstraete, Tatiana Roque, Henry Roy, Stephen Sprott, Yuriika Suzuki, Sergio Taborda, Itai Tamir, Guillermo Ueno, Antek Walzcak, Szymon Zaleski, Zucca, and more.
contents:
Cahier 01 Marcel Cohen, 10 textes
Cahier 02 Vivre au Japon
Cahier 03 France
Cahier 04 Esprits
Cahier 05 Comunal Argea
Cahier 06 Lisboa
Cahier 07 Caractères
Cahier 08 Vêtements d'hiver
Cahier 09 New York Now and Then
Cahier 10 Buenos Aires, les personnes préférées de Guillermo Ueno
Cahier 11 Idoles
Cahier 12 Aventures
Cahier 13 Szymon Zaleski, La tragédie sémite
Cahier 14 Rio de Janeiro
Cahier 15 Créatures
2018, English
Hardcover, 180 pages, 22 x 24 cm
Published by
Lecturis / Eindhoven
$75.00 - Out of stock
This is the first international monograph of the photographs of John Williams (Sydney 1933 – 2016 Hobart) whose work, outside his own country, remains undiscovered. Inspired to take up photography by “The Family of Man” exhibition which went to Sydney in 1959, Williams was, from the outset, a street photographer in the strict sense: he walked the streets at random, waiting for the right moment to press the button of his already prepared camera. Besides amounting a mass of photographs, he established one of the first photography galleries in Australia and was the first Head of Photography at Sydney College of the Arts.
Edited by Rolf Sachsse
2017, English / Dutch
Softcover, 128 pages, 20 x 27 cm
Published by
Roma / Amsterdam
$26.00 - Out of stock
Catalog accompanying the first part of a diptych exhibition in S.M.A.K., Ghent, spread over two years, curated by Martin Germann with Tanja Boon and Steven Humblet. The exhibition comprises new and existing work by artists and photographers including among others Mohamed Bourouissa, Moyra Davey, Roni Horn, Aglaia Konrad, Jochen Lempert, Zanele Muholi, Malick Sidibé, Dayanita Singh, and Wolfgang Tillmans. The selection, ranging from the 1960s to the present, demonstrates a lively interest in the power of the still image as a means of examining the world. It concentrates on indefinable images with an open view, whose multi-layering requires slow reading. With an introduction by Martin Germann and Philippe Van Cauteren, and an essay by Steven Humblet in Dutch and English.
1970, German
Hardcover, 140 pages, 16 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Zero Press / Frankfurt
$90.00 - Out of stock
First edition of this cult erotica photobook, published in 1970 by Zero Press in Frankfurt.
Colour photography throughout by the great German designer and photographer Gunter Rambow, interspersed with text by pseudonymous authors Bettina Von Heuenstein and Jan Lue Verrou (a pseudonym of German poet Paulus Böhmer).
A very unique and playful book that combines rich, saturated sexual imagery with poetry and narratives, ushering pulp erotica into the era of the hippy underground press. Features German "1968 generation" actress / singer / icon, Rosemarie Heinikel (Rosy Rosy).
Gunter Rambow (born 1938) is well honoured German designer and photographer. His poetic and strikingly powerful visual language emerged in the 1960s, during a time of protest and creative experimentation. He has created numerous iconic and ground-breaking photo books and poster series. In his posters he tackles the social and political problems of his time, making no secret of his ideological bearings: to the left. His theatre posters contain caustic comments on the plays, interpreted in the topical context of everyday life. Rambow’s use of documentary-style photography actualises the often abstract ideas behind his designs. It has become a defining feature of his work: to confront the imagery of myths and fantasy with the problems and contradictions of contemporary society.
Paulus Böhmer (pseudonym : Jan Lue Verrou, born 1936) is a German writer. An outsider of contemporary German-language literature, he is representative of the rhythmic-epic long poem, which seeks to create an intoxicating effect on the reader with its juxtaposition of elements that seem at first sight to be incompatible.
Rosemarie Heinikel (born 1946) is a German actress, singer and author. As Rosy Rosy, she was an icon of the 1968 left-wing movement in Germany. Inspired by the spirit, later grouped under the term "The 68 Movement" - which also included the women's movement - she embodied liberated, feminine sexuality and creative self-realization. Alongside Uschi Obermaier, she is Germany's most famous communard. As a singer, she worked with the group Guru Guru. She recorded her first single in 1968 with Irmin Schmidt (later of Can). Conny Plank in Cologne produced her second in 1974. Since 1971 she works as a writer, directer (for children's films) and broadcaster. In 1983 she published the erotic poetry book "The Hungry Wolf".