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.
1999, English
Softcover, 228 pages, 21 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Maison Martin Margiela / Paris
$200.00 - Out of stock
The scarce first joint edition of this great visual archive, designed, edited and published by Maison Martin Margiela!
In 1995, Tokyo-based Street magazine approached the Paris fashion house of Martin Margiela with an invitation to publish a special edition dedicated to its work. Maison Martin Margiela guest-edited the magazine, and was solely responsible for the selection of images and presentation, which includes many previously unpublished photographs from its archives. The success of the first volume led to the publication of a second instalment in 1999, and together the two special issues cover every Martin Margiela collection from Spring/Summer 1989 through to Spring/Summer 1999, including heavy visual documentation of the presentations, events, studio, ephemera, behind the scenes, garment details, and much more.
In 1999, Maison Martin Margiela himself collected together both volumes into this now collectable book. After quickly selling out, it was made available once more in 2013 by Street Editorial Office, that is now also out of print.
Please note that this is the first book printing from MMM in 1999.
2016, English / German
Softcover, 540 pages, 22 x 30 cm
Published by
Walther König / Köln
$70.00 - Out of stock
Having represented Beuys, Richter and Polke, German gallery owner , art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde. This publication collects writings by and interviews with Block, scanned from their original publications and organized chronologically, as well as an illustrated published history, artist portraits (taken by Block), performance ephemera, bibliography, and more. An enormous book that, via Block, encompasses the work of so many important movements and figures of 1960s - 1990s art.
Although primarily a German language publication, many of the original articles are in English. Regardless of language, the valuable historical listings translate.
2014, English / French
Hardcover, 240 pages, 21 x 26 cm
Published by
Carré d'art / Nîmes
$48.00 - Out of stock
Edited by Branka Stipančić.
Texts by Jean-Marc Prevost, Branka Stipančić, Igor Zabel, Ana Devi.
Personal Cuts focus is conceptual tendencies, in the broadest sense of the term, starting with the neo-avant-garde from the periods of 1950s and 1960s, the “New Art Practice” of the 1970s and expands to include some art of today that has a strong conceptual background. “Conceptual Art” in Zagreb is understood differently to the “western canon” and covers an enormous range and means of expression, a wide array of works and practices. The artists moved towards new materials, media, methods and behavior they shifted their interests from objects to the “conduct” of making art in search of a redefinition of the role of the artist towards social, political, and economical realities and within the places they were (and are) living.
After the Croatian cultural season in France in 2012 and the entry of this state in the European Union in 2013, Carré d'Art-Musée d'Art Contemporain de Nimes hosting in 2014 an exhibition with a historical perspective on contemporary artistic production from Zagreb both innovative and committed. This publication is a direct extension of the show, opening with the chronology of radical production and its context, in which Branka Stipančić backs on the 1950s to 1970s, notably with the Gorgona Group, Exat 51 and to contemporary productions.
Published on the occasion of the eponymous exhibition at Carré d'art, Nîmes, from October 17, 2014 to January 11, 2015.
Works by Gorgona Group, Josip Vaništa, Julije Knifer, Dimitrije Bašičević, Mangelos, Ivan Kožarić, Tomislav Gotovac, Goran Trbuljak, Sanja Iveković, Dalibor Martinis, Mladen Stilinović, Vlado Martek, Boris Cvjetanović, Igor Grubić, David Maljković, Andreja Kulunčić, &, Božena Končić, Badurina.
Branka Stipančić, curator at the Museum of Contemporary Art in Zagreb from 1983 to 1993, director of the Soros Center for Contemporary Art in Zagreb from 1993 to 1996, she is now an art historian, curator and editor based in Zagreb. She holds degrees in art history and literature at the Faculty of Philosophy of the University of Zagreb.
2006, English / Croatian
Softcover (staple-bound), 56 pages, 16.5 x 23.5 cm
Published by
Galerija Nova / Zagreb
$24.00 - Out of stock
'O nepoznatim radovima' / 'An Unknown Work' was an exhibition curated by Branka Stipančić in 2006, featuring the work of Boris Cvjetanović, Antonio Gotovac-Lauer (Tomislav Gotovac), Sanja Iveković, Zeljko Jerman, Julije Knifer, Vlado Martek, Dalibor Martinis, Mladen Stilinović, Sven Stilinović, Goran Trbuljak, Joseph Vaništa.
"The artists of this exhibition have a significant and long career.... Nevertheless, each of them at home has works that are rarely or never exhibited, works in the studio or apartment - somehow always left aside. These works probably did not fit in solo exhibitions of artists, or did not correspond to curatorial themes and concepts, or are perhaps not sufficiently reflect a trend in which they wanted to see the work of individual artists.... I focused attention on works from the time of the seventies and eighties of several artists such as Boris Cvjetanović, Antonio Gotovac Lauer (Tomislav Gotovac), Sanja Iveković, Jerman, Julius Knifer, Vlado Martek, Dalibor Martinis, Mladen Stilinović, Sven Stilinovic, Goran Trbuljak Joseph Vaništa. There are works on paper, photographs, artists' books, films and videos. Paradoxically, some of the exposed 'unknown' works once were printed in the edition of daily newspapers, and yet no one remembers them and there is no account. A few of them to this day remain unknown because they were unavailable to the artists themselves... A few newer works are also exhibited - these are works by artists of the older generation who rarely exhibit at exhibitions of contemporary art and therefore just their newer works remain unknown...
Catalogue published to accompany this very interesting and curious exhibit of well-known Croatian artists from the avant-garde and conceptual scene of the 1970s-1980s.
1984, English
Hardcover (w. dust jacket), 342 pages, 270 x 280 cm
1st Edition, Out of print title / Used*,
Published by
U.M.I. Research Press / Michigan
$150.00 - Out of stock
First, hardcover edition of "LOOKING CRITICALLY: 21 YEARS OF ARTFORUM MAGAZINE", the heavy 342 page volume anthology of the first 21 years of the world's most important modern and art journal. An incredibly valuable collection of art theory.
Edited by Amy Baker Sandback, designed by Roger Gorman and Mary Beath and published in 1984 by U.M.I. Research Press, this dense volume, bound in hardcover to the dimensions of a copy of ARTFORUM, begins with an Ed Kienholz review at the Ferus Gallery from ARTFORUM's June 1962 inaugural issue, and ends with Barbara Kruger reviewing the film "TRON" for the November 1982 issue. An amazing compendium of articles and reviews from the magazine's important first 21 years, featuring contributions by the likes of John Cage, Robert Morris, Kate Steinitz, Henry T. Hopkins, Don Factor, Robert Pincus-Witten, Dennis Adrian, John Coplans, Hilton Kramer, Harold Rosenberg, Henry Geldzahler, John Cage, Walter Hopps, Ed Ruscha, Allan Kaprow, Robert Rosenblum, Dan Flavin, Boris Groys, Sam Wagstaff, Billy Kluver, Lucy R. Lippard, Robert Rosenblum, Roger Shattuck, Ad Reinhardt, Mel Bochner, Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Barbara Rose, Manny Farber, Michael Fried, Robert Morris, Philip Leider, Hollis Frampton, Carl Andre, Richard Serra, Lawrence Alloway, Barbara Kruger, Jane Livingston, Lizzie Borden, Kenneth Baker, Laurie Anderson, Agnes Martin, Cindy Nemser, Sidney Tillim, Annette Michelson, Rosalind Krauss, Jeremy Gilbert-Rolfe, Roberta Smith, Peter Plagens, Peter Schjeldahl, J. Hoberman, Hal Foster, Richard Flood, Carter Ratcliff, Stuart Morgan, Max Kozloff, Donald Kuspit, Dan Graham, Walter De Maria, Komar & Melamid, Edit De Ak, Lawrence Weiner, Kathy Acker, Robert Mapplethorpe, Anselm Kiefer, Thomas McEvilley, Louise Bourgeois, Ingrid Sischy, and too many more to list. Artists featured include: Josef Albers, Richard Tuttle, Jo Baer, Carl Andre, Ant Farm, Hans Arp, Max Bill, Mel Bochner, Alighiero Boetti, Lee Bontecou, Constantin Brancusi, Bertholt Brecht, Richard Avedon, Francis Bacon, Diane Arbus, Michaelangelo Antonioni, Lynda Beglis, Larry Bell, Terry Fox, James Byers, Rober Barry, Marcel Breuer, AA Bronson, Luis Buñel, Daniel Buren, Chris Burden, Joseph Beuys, Anthony Caro, Marcel Broodthaers, John Chamberlain, Paul Cézanne, Marc Chagall, Jean Cocteau, Merce Cunningham, Sonia Delauney, Walter de Maria, Bruce Connor, Jean Dubuffet, Max Ernst, Walker Evans, Dan Flavin, Marcel Duchamp, Albrecht Dürer, Lucio Fontana, Hollis Frampton, Alberto Giacometti, Eva Hesse, Gilbert & George, Philip Glass, John Cage, Nancy Graves, Dan Graham, Robert Grosvenor, Nancy Grossman, Walter Gropius, Hans Haacke, Hairy Who, David Hockney, Douglas Huebler, Jorg Immendorff, Donald Judd, Jasper Johns, Joan Jonas, Allan Kaprow, On Kawara, Ellsworth Kelly, Edward Keinholz, Paul Klee, Alison Knowles, Joseph Kosuth, Brice Marden, Agnes Martin, André Masson, Henri Matisse, Roberto Matta, Sol Lewitt, Roy Lichtenstein, Barbara Kruger, Jannis Kounellis, Markus Lüpertz, El Lissitzky, Rene Magritte, Robert Mapplethorpe, John McCracken, Mario Merz, Robert Morris, Robert Motherwell, Ree Morton, Louise Nevelson, Barnett Newman, Kenneth Noland, Claes Oldenburg, Eduardo Paolozzio, A. R. Penck, Irving Penn, Francis Picabia, Pablo Picasso, Larry Poons, Ken Price, Yvonne Rainer, Robert Rauschenberg, Martial Raysse, Roman Polanski, Jackson Pollock, Steve Reich, Gerrit Rietveld, Alain Robbe-Grillet, Dorothae Rockburne, James Rosenquist, Mark Rothko, Robert Ryman, Lucas Samaras, Kurt Schwitters, Oscar Schlemmer, Richard Serra, Cindy Sherman, David Smith, Robert Smithson, Michael Snow, Robert Venturi, Wolf Vostell, Andy Warhol, Frank Stella, Saul Steinberg, Karlheinz Stockhausen, Bruno Taut, Jean Tinguely, Anne Truitt, Paul Wunderlich, Lawrence Weiner, Louise Bourgeois, Alfred Hitchcock, and so many more.
Very uncommon hardcover edition, with dust jacket.
1985, English
Softcover, 60 pages, 21 x 28 cm
1st Edition, Out of print title / Used*,
Published by
The Art Gallery of Western Australia / Perth
$50.00 - Out of stock
Scarce Australian catalogue published on the occasion of the exhibition "Pleasure of The Gaze : Image and Appearance in Recent Australian Art", held at the The Art Gallery of Western Australia, Perth, 1985, and curated by Bruce Adams.
Profusely illustrated in colour and black and white across exhibiting artist biographical sections and essay accompaniment illustrations, this publication features the work of Julie Brown-Rrap, Peter Callas, Richard Dunn, Merilyn Fairskye, Marinka Kordis, Maria Kozic, Lindy Lee, John Lethbridge, Akio Makigawa, Sue Paull, Stieg Persson, Robert Randall and Frank Bendinelli, Carol Rudyard, Peter Tyndall, Vicki Varvaressos, and John R. Walker. Essays include "Eye, Image, Picture, Screen (and all that Junk)" by Adrian Martin; "Sticky Television" by Meaghan Morris; "Re Re-Orientation: The Image as Fantasy and Furniture in Japan" by Peter Callas. Plus an introduction by Adams.
Design by Wohlnick Design.
1984, English
Softcover, 170 pages, 21 x 30 cm
1st Edition, Out of print title / Used*,
Published by
Art & Text / Beverley Hills
Art & Text / Prahran
$65.00 - Out of stock
First printing of "Anything Goes : Art in Australia 1970-1980", published by Art & Text in 1984. Edited by Paul Taylor, founder of Art & Text, this large, valuable volume of essays by leading writers of those years - covering all aspects of painting, sculpture, photography and experimental art forms since 1970 - features contributions by Janine Burks, Mary Eagle, Christine Godden, Robert Lindsay, Ian Burn, Julie Ewington, Memory Holloway, Terry Smith, Ann Stephen, Margaret Plant, Patrick McCaughey, Daniel Thomas.
"The 1970s were years of unprecedented change in Australian art and culture, and Anything Goes is the first book about that decade's remarkable variety of art."
Includes the work of: →↑→, Mike Parr, Howard Arkley, Jenny Watson, Donald Judd, Ian Burn, John Lethbridge, John Davis, Mel Bochner, Joseph Beuys, Mel Ramsden, Women's Domestic Needlework Group, Andy Warhol, Tim Johnson, Nigel Lendon, Artsworkers Union, Robert Rooney, Clive Murray-White, Tony McGillick, Fred Williams, John Firth-Smith, George Haynes, Donald Laycock, Michael Taylor, Fred Cress, Ron Robertson-Swann, David Aspden, Sydney Ball, Roger Kemp, Paul Partos, Trevor Vickors, Robert Hunter, Robert Jacks, Vivienne Binns, Bonita Ely, Marie McMahon, Virginia Cuppaidge, Imants Tillers, Les Kossatz, Ti Parks, Peter Cripps, Ken Searle, Jan Senbergs, George Baldessin, John Armstrong, Janet Dawson, Dale Hickey, Tony Coleing, Marr Grounds, Chips Mackinolty, Ann Newmarch, Colin Little, Jan Mackay, Toni Robertson, Jenny Hill, Christo, Ross Grounds, Ken Unsworth, Kevin Mortensen, Stelarc, Jillian Orr, Hossein Valamanesh, W. Thomas Arthur, Ewa Pachucka, Vicki Varvaressos, Carol Jerrems, Elizabeth Gower, Geoff Hogg, Ann Newmarch, Peter Kennedy, Jon Rhodes, Bill Henson, Stephen Lojewski, Robert Owen, Mark Johnson, Peter Booth, John Dunkley-Smith
, Ron Robertson-Swann, Alun Leach-Jones, Michael Johnson, Lesley Dumbrell, Fred Cross, John Walker, David Aspden, and many more.
Paul Taylor (Melbourne, 1957–7 September 1992) was an Australian art critic, curator, editor and publisher. In 1981, he founded Art & Text, the contemporary art journal considered to be responsible for generating and promoting postmodernist discourse in Australian art.
2016, English / German
Softcover, 248 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$30.00 - Out of stock
Issue #104 of TzK examines a key protagonist of the modern age: the individual. As our cover suggests, there is an inherent tragedy to this being who, however autonomous, is beholden to a program that it must internalize at the price of suffering enormously. This issue takes up the individual not as a fixed subject, but as a mode of the self that shifts according to the current form of governance, asking how 15-some years of the "new spirit of capitalism" has shaped her – as an artist, as an entrepreneur, as a "productive" contemporary self.
ISSUE NO. 104 / DECEMBER 2016 “THE INDIVIDUAL”
TABLE OF CONTENTS
PREFACE
INVEST YOURSELF! / Wendy Brown in conversation with Isabelle Graw
NINA POWER
FROM THE ONE TO THE MANY
CAN THE ENTREPRENEURIAL SELF TWEET? / An interview with Ulrich Bröckling
BUFFERING OF THE SELF: GUISING IN THE MID-’00S / Storm van Helsing, André Rottmann, Sarah Nicole Prickett, Reena Spaulings, @lilinternet, i.i.i., Luther Blissett -- on -- Luther Blissett, JT LeRoy, Reena Spaulings, @lonelygirl15, Claire Fontaine, An Hero, Lee Williams, and Strom van Helsing
SVEN LÜTTICKEN
SPEECH GESTURES / Notes on the individual and the socialization of language after Gutenberg
WOLFGANG RUPPERT
PRODUCING INDIVIDUALITY / The Artist among his Contemporaries
I’M NOT PUNK / Alex Israel in conversation with Texte zur Kunst
BILDSTRECKE
ANNA HAIFISCH
PORTFOLIO
ROTATION
FEEDBACK FÜR BLINDE FLECKE / Karin Gludovatz über „Jenseits des Spiegels. Das Sehen in Kunstgeschichte und Visual Culture Studies“ von Susanne von Falkenhausen
WORLD WIDE WEB / Anthony Vidler on Felicity D. Scott’s “Outlaw Territories”
LIEBE ARBEIT KINO
LANGSAMER ABSCHIED / Esther Buss über Albert Serras „La mort de Louis XIV“
DAS SICH SELBST TRÄUMENDE INTERNET / Sulgi Lie über Werner Herzogs „Lo and Behold. Reveries of the Connected World“
KLANG KÖRPER
SHARING ANGST / Gaby Tront on Anne Imhof's "Angst II" at Hamburger Bahnhof, Berlin
SHORT WAVES
Mikael Brkic on Alex Israel at the Astrup Fearnley Museum, Oslo / Steven Warwick on Morag Keil at Eden Eden, Berlin / Hanna Magauer über Dana Schutz bei Contemporary Fine Arts, Berlin / Tonio Kröner über Amelie von Wulffen in der Galerie Barbara Weiss, Berlin / Kari Rittenbach on Margaret Lee at Jack Hanley Gallery, New York / Susanne von Falkenhausen über „Die zu sein scheint, die bin ich.“ Birgit Jürgenssen, Cindy Sherman, Katharina Sieverding und Francesca Woodman in der Galerie Thomas Schulte, Berlin
REVIEWS
INDIVIDUELLER ORIENT / Diedrich Diederichsen über Michael Buthe im Haus der Kunst, München
ÜBERBLENDUNGSVERHÄLTNISSE / Sabeth Buchmann über Ellen Cantor im Künstlerhaus Stuttgart
… MY MERE SELF / Rachel Haidu on Kai Althoff at the Museum of Modern Art, New York
DIE KUNST DER STUNDE / Susanne Leeb über Kader Attia im Museum für Moderne Kunst, Frankfurt / M.
RUBY STERLING ZEIGT STERLING RUBY / Tanja Widmann und Inka Meißner über Sterling Ruby im Winterpalais Wien
DAS VIRTUELLE IM PHYSISCHEN / Hanne Loreck über Katrin Mayer und Eske Schlüters in der Kunsthalle Lingen
WHY BOTHER WITH SHOW BUSINESS? / Bosko Blagojevic on Antek Walczak at Real Fine Arts, New York
WERKE / Nikola Dietrich über Karl Holmqvist und Klara Lidén im Kunstverein Braunschweig
OBITUARY
BIRD OF PARADISE / Frank Wagner (1958–2016) in the words of Julie Ault
EDITION
ROBERT LONGO
OSCAR MURILLO
COSIMA VON BONIN
1996, English
Softcover, 238 pages, 23 x 30.5 cm
Out of print title / used*,
Published by
Rizzoli / New York
$70.00 - Out of stock
"The influence of Surrealism on fashion and its ancillary arts lasted decades longer than the movement itself. This catalog, accompanying a 1987 exhibition at Fashion Institute of Technology, explores the extravagances of visual language as social and political comment, a revolution in perception."--The Library Journal.
"The love affair between fashion and Surrealism began in the Paris of the 1920s when Surrealist artists plundered fashion's imagery for their art, raising fashion beyond the level of mere style to an important expression of culture. This text reveals the extravagent and ingenious creations resulting from this collaboration. It ranges from the shocking Surrealist dresses of Schiaparelli and Dali, and photographic experiments with Surrealist techniques by Horst P. Horst, Cecil Beaton and George Hoyningen-Huene to the work of younger fashion designers, including Olivier Guillemin and Vivienne Westwood, who have all brought Surrealist imagery into clothing and accessories."
This bountiful, visually lavish volume, published to accompany a 1987 exhibition at Fashion Institute of Technology, features the garments, paintings, sculptures, illustrations, window displays, fashion advertisements, costume designs and photography of Man Ray, Cecil Beaton, Issey Miyake, Horst P. Horst, Cinzia Ruggeri, Vivienne Westwood, Thierry Mugler, Krizia, Giorgio De Chirico, Meret Oppenheim, Max Ernst, Donatella, Rene Magritte, Comme des Garcons, Enrico Donati, Elsa Schiaparelli, Salvador Dali, Marcel Rochas, Jaques Griffe, Adelle Lutz, Marina Killery, Dominique Lacoustille, Emme, Stephen Jones, Louise Bourbon, Bill Cunningham, Germaine Vittu, Eric Braagaard, Karl Lagerfeld, Candy Pratts Price, Serge Lutens, Antonio, Linda Fargo, Claude Montana, Georgina Godley, Olivier Guillemin, Yves Tanguy, Christian Lacroix, Valentine Hugo, Paul Colin, Francoise Lesage, Yves Saint Laurent, Jean Cocteau, Adam Kurtzman, Herbert Bayer, Mel Odom, Jean-Paul Gaultier, Alfa Castaldi, Leo Malet, Jorge Silvetti, Gabriella Giandelli, Givenchy, Marcel Jean, Jean-Charles de Castelbajac, Michael Roberts, Marcel Vertés, Bert Stern, John Galliano, Danuta Riyder, Paul Delvaux, Manolo Blahnik, Dorothea Tanning, Eileen Agar, Miguel Covarubias, Cristobal Balenciaga, Andre Masson, Leonor Fini, Roman Cieslewicz, Shoji Ueda, Louise Dahl-Wolfe, Bruce Weber, Robert Mapplethorpe, A. M. Cassandre, Peter Lindbergh, Claude Cahun, Jean Arp, and so many more.
1977, English
Softcover, 111 pages, 25 x 30 cm
1st edition, Out of print title / used*,
Published by
Australian Gallery Directors Council / Canberra
$38.00 - Out of stock
Major Australian touring exhibition exploring realism and illusion in art (across new realist painting, pop, photography, conceptualism, minimalism, abstraction, ceramics, even architecture) with a catalogue of 71 works by 44 international artists and groups. Introduction and notes on the artists by John Stringer; statements by Audrey Flack, Stephen Posen and Josef Raffael; biographical notes on the artists, including exhibitions and collections; statement on realism by Raymond Williams. Exhibition organized by the Australian National Gallery, Canberra, and shown at seven locations throughout Australia.
Artists: Ian Burn, Gerhard Richter, Ed Ruscha, Joseph Kosuth, Bernd and Hilla Becher, Marilyn Levine, Dale Hickey, Jenny Watson, Jan Dibbets, Chuck Close, SITE, Michael Snow, Tom Wesselman, Claudio Bravo, Malcolm Morley, Michael Snow, Robert Bechtle, Tom Blackwell, Christian Boltanski, Santiago Cardenas, John Clem Clarke, William Delafield Cook, Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Ralph Goings, Jan Groover, Duane Hanson, Peter Kennedy, Ron Kleeman, Richard Larter, Victor Lance Henderson, Terry Schoonhoven, Richard McLean, Jud Nelson, John Okulick, Philip Pearlstein,, Michelangelo Pistoletto, Liliana Porter, Stephen Posen, Joseph Raffael, Ben Schonzeit, Paul Sharits, Sonia Landy Sheridan, and more.
1993, English
Softcover, 224 pages, 26 x 33.5 cm
1st Edition, Out of print title / Used*,
Published by
Pavilion Books / London
$190.00 - Out of stock
The now very collectable "Nova 1965-1975" was issued in 1993 by Pavilion, in London, and is a comprehensive celebration of the iconic and pioneering 1960-1970s British style magazine, Nova.
Features the work of Harry Peccinotti, Helmut Newton, Sarah Moon, Diane Arbus, Issey Miyake, Jeanloup Sieff, Hans Feurer, Zandra Rhodes, Bob Richardson, Jonvelle, Alan Aldridge, Terence Donovan, Kansai Yamamoto, Saul Leiter, Caroline Baker, David Hillman, and many more.
A product of the creative cauldron in "Swinging London", Nova was avant-garde in every aspect: its typography and layout, illustration and photography. It offered a mixture of daring and artistic imagery with unconstrained writing which had never been done before, and marked a period of real innovation in magazine design. This over-sized volume shows every Nova cover, and over 200 photographs and layouts of key features. The accompanying words tell the story of the magazine and the people who made it, how Nova influenced and was influenced by the times, and is complemented by a "time-line" of events, the signposts of the era. But the lavishly reproduced images, such as the groundbreaking "How to Undress in Front of Your Husband" speak largely for themselves. Not only of specialist interest to designers and artists, and nostalgic interest to avid subscribers, this is also a visual document of times of great change, of the political and cultural upheavals which brought us platform soles and flares, Mick Jagger and Ted Heath. David Hillman was art director for "Nova" from 1969 until it closed in 1975. He was also deputy editor during that time. Harry Peccinotti was the magazine's first art director and regular photographer throughout.
1982, English
Hardcover (w. dustjacket), 118 pages,
1st UK edition, Out of print title / used*,
Published by
Collins / London
$90.00 - Out of stock
1st UK edition photo-book published by Collins, London, in 1982 with the release of A Summer in St. Tropez or Un été à Saint-Tropez (original French title) a French film directed by English photographer David Hamilton.
The film was shot at and around David Hamilton's 800 year old house in Saint Tropez, France, and, as this book is testament, aesthetically echoes the photographic imagery he became so famous and influential for. David Hamilton (15 April 1933 – 25 November 2016) was an English photographer and film director who started out as graphic designer for Peter Knapp of Elle magazine before moving to Paris where his photography became iconic throughout the 1960s-1980s. His dreamy, soft focus style of photography became enormously influential through his magazine work with Vogue, Twen, Elle, Réalités, and Photo, amongst many others. He published many acclaimed and often controversial photo-books that have been printed in editions the world over.
1992, English / Japanese
Softcover (w. obi-strip), 52 pages, 26 x 36.2 cm
1st Edition, Out of print title / used*,
Published by
A.D.A Edita / Tokyo
$120.00 - Out of stock
GA 68
1992
Gerrit Thomas Rietveld
The Schröder House, Utrecht, The Netherlands, 1923-24
Edited and Photographed by Yukio Futagawa
Text by Ida van Zijl
One of the finest architecture series ever published, the world renowned GA (Global Architecture) series, presented by the highly esteemed publishing house that also published the GA Document, GA Houses, and GI (Global Interior) architectural publications.
Each over-sized photographic folio issue of GA highlights a renowned international architect and a selection of their architectural projects.
Absolutely stunning and vivid large-format (usually full-bleed) architectural photography of the selected building's interiors, exteriors and architectural details, along with texts (in English and Japanese) and floor-plans/elevation drawings make up the profiles on each featured architectural project. The visual generosity of these handsomely designed and beautifully printed over-sized publications make them a treasure for any architecture or interior design enthusiast or collector.
Printed in Japan
1997, English / Japanese
Softcover (w. obi-strip), 50 pages, 26 x 36.2 cm
1st Edition, Out of print title / used*,
Published by
A.D.A Edita / Tokyo
$120.00 - Out of stock
GA 48 (Revised)
1997
Luis Barragán
Barragán House, Tacubaya, Mexico City, 1947
Los Clubes, suburb of Mexico City, 1963-69
San Cristobal, suburb of Mexico City, 1967-68 (with the collaboration of arch. Andres Casillas)
Edited and Photographed by Yukio Futagawa
Text by Emilio Ambasz
Revised edition of 1979's GA 48. Both books have completely different photography of the Barragán House throughout.
One of the finest architecture series ever published, the world renowned GA (Global Architecture) series, presented by the highly esteemed publishing house that also published the GA Document, GA Houses, and GI (Global Interior) architectural publications.
Each over-sized photographic folio issue of GA highlights a renowned international architect and a selection of their architectural projects.
Absolutely stunning and vivid large-format (usually full-bleed) architectural photography of the selected building's interiors, exteriors and architectural details, along with texts (in English and Japanese) and floor-plans/elevation drawings make up the profiles on each featured architectural project. The visual generosity of these handsomely designed and beautifully printed over-sized publications make them a treasure for any architecture or interior design enthusiast or collector.
Printed in Japan.
2013, English
Hardcover, 456 pages, 30.5 x 22.5 cm
Ed. of 500,
Published by
Motto / Berlin
Wroclaw Contemporary Museum / Poland
$48.00 - Out of stock
First published in Polish in 2012 on the occasion of the exhibition Where is PERMAFO? at Wroclaw Contemporary Museum (30 November 2012- 4 February 2013). Shortly after this 2013 English edition was published in an edition of only 500 copies.
Young, vivid and unpretentious art of Wrocław of the 70s has resisted both musealization and academic discourses of art history. The artists of PERMAFO – as other Wrocław galleries of the 70s – didn’t think about making history, but about changing their lives and enjoying life. The PERMAFO gallery was founded after the famous symposium Wrocław ’70 considered to be a founding demonstration of conceptual art. After years a famous Poznań based critic has meanly said, that it is the inertia of Wrocław infrastructure what become a quantum leap of popularising conceptualism. Because almost none of the symposium projects has been realized.
That’s why the history of modern art in Wrocław is yet to be written.
An exhibition Where is PERMAFO? is the Wrocław Contemporary Museum’s attempt to tell the founders’ myth of the young, open city, through the figures of two artists Natalia LL and Andrzej Lachowicz. A beautiful and deeply in love couple makes a space and atmosphere and creates art anew – a surprising, even impossible combination of conceptual art with pop-art. In the splice of art and joie de vivre, tiny revelations appear that change the confines imposed by The People’s Republic of Poland into absurd usurpation. Soon, people appear in PERMAFO, without divisions into artists, scientists, dilettantes and devotees, discussions till dawn and certainty that all “begun in Wrocław” – modernity, art and life in a fresh context and mutual relation. The PERMAFO artists chose democratic means like photo cameras. One of the main ideas of PERMAFO – permanent registration – was completely transparent towards life. It’s life attitude that was becoming a form. Participation in art, with the preference of participating, not the work itself, caused the work become a trace of real experience and that (an not the aesthetic form) protected against ideology.
This generous monograph serves as the first and only major book to document PERMAFO.
1977, German
Hardcover, 72 pages, 18 x 23.5
2nd edition, Out of print title / used*,
Published by
Reich Verlag / Luzern
$45.00 - Out of stock
Lachende Kamera (Laughing Camera) were a series of iconic photo-books published in Germany/Switzerland in the 1960s and 1970s by Hanns Reich and Terra Magica Books. Each book functions as an album of extraordinary, clever and absurd black and white photographic moments captured by various photographers that draw out interesting and amusing parallels and narratives when compiled together, page by page.
With introductory text by Heinz Held (in German), this edition is the third in the series and was issued in 1977, first published with a different cover in 1969.
Hanns Reich was a prolific photographer and publisher whose handsomely designed photo-books on the everyday were widely popular with children and adults alike in Europe throughout the 1960s and 1970s.
1970, German
Hardcover, 40 pages, 23.5 x 21.5 cm
1st edition, Out of print title / used*,
Published by
Hanns Reich Verlag / Munich
$45.00 - In stock -
First edition of "Die Lachende Kamera für Kinder", issued in Germany in 1970. A wonderful book of black and white photography that captures amusing parallels between the animals and the human world.
Lachende Kamera (Laughing Camera) were a series of iconic photo-books published in Germany/Switzerland in the 1960s and 1970s by Hanns Reich and Terra Magica Books. Each book functions as an album of extraordinary, clever and absurd photographic moments captured by various photographers that draw out interesting and amusing parallels and narratives when compiled together, page by page.
Hanns Reich was a prolific photographer and publisher whose handsomely designed photo-books on the everyday were widely popular with children and adults alike in Europe throughout the 1960s and 1970s.
1993, English / Italian
Softcover, 130 pages, 24.5 x 33 cm
1st edition, Out of print title / used*,
Published by
Versace / Italy
$120.00 - Out of stock
Rare 1993 catalogue look-book for Versace's "Collezione Uomo Primavera Estate 1993" with photography by Beppe Caggi, Rohn Meijer, Doug Ordway.
These early 1990s Versace over-sized photo catalogues perfectly visually embody the Versace aesthetic in book-form, with page after page filled with colour-saturated images of luxurious catwalk photography, textile details, model photoshoots, accessories, shoes, backstage, Versace advertisements, graphics and Versace's diary (with Italian and English text).
Art Directed by Donatella Versace herself, with Paul Beck to the incredible backdrop of Miami Beach and the Miami Seaquarium!
1980, English
Softcover, 102 pages, 22 x 26 cm
1st Edition, Out of print title / used*,
Published by
Knopf / New York
$70.00 - Out of stock
Reservations, published in 1980, is the first photographic book by Diane Keaton. Well known to most as an accomplished actress, she has a great and knowledgable interest in design and photography and since the 1980s she has published a number of collections of esoteric photography and is highly-regarded for her curatorial and editorial projects within the field.
The first book of her personal photography, Reservations is a beautiful and surprising collection of images taken by Keaton in the late 1970's of lobbies and dining halls in what are mostly now long-lost luxury hotels in Miami Beach, New York City, Los Angeles, Palm Springs. This stunning series at once capture the strong, simultaneous sense of potential and still emptiness that haunts the transient, often flamboyant, yet profoundly melancholic, surroundings of the sojourner.
Daine explains, “In 1980, Knopf agreed to publish a book of my photographs of hotel lobbies, called “Reservations.” I finally had an excuse to roam around the United States with my Rolleiflex shooting the interiors of old hotels. Along the way I began collecting books like “The Family of Man.” “Diane Arbus: An Aperture Monograph.” Garry Winogrand’s “Figments From the Real World” and Lee Friedlander’s 1976 “The American Monument.”… ”
First edition.
2016, English / French
Softcover, 150 pages, 240 x 175 mm
Published by
May Revue / Paris
$29.00 $10.00 - In stock -
May no.16 focuses on recent feminist debates actualizing the history of Italian feminist collectives of the 1970s and 1980s. The issue is a continuation of the issue 4 of May, which reprinted and translated a selection of texts from the time. The issue’s touchstone is the work of writer and co-founder of Rivolta Femminile, Carla Lonzi. Throughout her life, Lonzi refused the power of a masculine creativity that exploits the reproductive, supportive activity of women. The texts assembled in May no.16 bring that refusal to contemporary light.
Weed and the Practice of Liberty
Claire Fontaine
The Paradox of Self-Abolition: a Mapping Exercice
Marina Vishmidt
Presence and Absence
Melissa Gordon
Narrative Without End
Anna De Filippi
An Exercise in the Practice of affidamento
Alex Martinis Roe
On Marinella Pirelli’s Films
Lucia Aspesi
Human Strike Between Foreignness and Responsibility
Claire Fontaine
Introduction to Double Bind
Rhea Anastas
Visual Insert
LGG$B
Citadelle. On Marie Angeletti at Édouard Montassut, Paris
Jacob Stewart-Halevy
On Mathieu K. Abonnenc, Lotte Arndt, Catalina lozano (eds), Colonial Collect and Affect, Crawling Doubles
Emmanuelle Chérel
A World Exactly Like This One. On Credits by Hannah Black
Jack Gross
Get Some Rest Pam, or Jason Bourne comes of age. On Paul Greengrass’ film, Jason Bourne
Maija Timonen
Aggregation or Mere Dislocation. On the 9th Berlin Biennale and “Painting 2.0: Expression in the information Age,” mumok, Vienna
Kari Rittenbach
Short Story
Jeanne Graff
Limited Edition
Hans-Christian Lotz
About MAY Revue:
Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.
Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.
2016, English
Softcover (over-sized), 136 pages, 25 x 37 cm
$58.00 $15.00 - Out of stock
encens is a fashion magazine from France, presenting a very selective number of designers, edited by Samuel Drira and Sybille Walter.
encens 36 "Mindscape" (Spring/Summer 2016) features Susan Sontag, Serge Lutens, Isabelle Weingarten, Cartier, Comme des Garçons, Annie Leibovitz, Nehera, Giorgio Armani, Hed Mayner, Angelo Flaccavento, James Benning, Carol Bove, Uma Wang, Veronique Branquinho, Issey Miyake, Carlo Scarpa, Lene Berg, Lutz Huelle, Givenchy, Dries Van Noten, Sonia Rykiel, Azzadine Alaia, Yohji Yamamoto, Willie Christie, Axl Jensen, Chanel, Celine, Lemaire, Veronique Leroy, Dior Homme, Maison Martin Margiela, Vivienne Westwood, Linda Loppa, Bless, Juun J., Christopher Williams, Friedrich Kiesler, Pierre Cardin, Hermes, and many more.
2016, English
Hardcover, 1012 pages, 30 x 24 cm
Published by
Self Service / Paris
$45.00 - Out of stock
Self Service No. 45 Fall / Winter 2016: The New Femininity
Features : Luna Bijl photographed by David Sims, Raquel Zimmermann by Inez and Vinoodh, Rianne van Rompaey and Edie Campbell by Cass Bird, The House of Vetements, Juergen Teller, Alasdair McLellan, Anna Ewers by Terry Richardson, and Charlotte Rampling by Ezra Petronio. With model mothers Amber Valetta, Mini Anden and Heidi Mount and their children. Dialogs with Charlotte Rampling, Emmanuelle Seigner, Emily Weiss, and Melanie Ward, among many others. Edie Campbell and Harriet Quick write about what is femininity, and much more.
Self Service magazine is a fashion and cultural biannual magazine. The magazine features the preeminent players in the fashion world, with innovative editorials photographed by the world’s best photographers and stylists.
Note: Due to the size/weight of this volume, your order will possibly incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.
1977, English
Hardcover (w. dust jacket), 700 pages, 21 x 26 cm
1st Edition, Out of print title / used*,
Published by
Watson Guptill Publications / New York
$68.00 - Out of stock
The 56th Annual of Advertising, Editorial, and Television Art and Design. Art Director: Lawence Miller.
This wonderfully designed, huge volume is full of colour and b&w photos and illustrations that present the best of 1977. Contents: The Gold Awards, Newspaper Advertising, Newspaper Editorial, Magazine Advertising, Magazine Editorial, Promotion and Graphic Design, Posters, Books and Jackets, Art and Illustration, Photography, Television. As well as the 1200 entries densely illustrated across the pages of this book, there are feature articles on Saul Bass, Herb Lubalin, and Bradbury Thompson, who were named to the Hall of Fame in 1977. A smart and visually generous series for anyone interested in graphic, editorial, type design and illustration from the 1970s.
1970, English
Softcover, 352 pages, 21 x 14 cm
Out of print title / Used*,
Published by
Studio Vista / London
$25.00 - Out of stock
"Renderings : Critical Essays on a Century of Modern Art" is a collection of forty-three essays, originally published in The Nation, Artforum, Art International and elsewhere, organized in six sections, "Revisitations Within the Modern Tradition"; "American Art and the Generation of the Second World War"; "Essays in Modern Sculpture"; "Current Art: Options and Responses"; "Sketches in the Aesthetics of Photography" and "The Methodology of Criticism". Illustrated sections reproduce selected works by the many artists featured throughout the texts collected here, including Gustave Courbet, Claes Oldenburg, Edward Kienholz, Robert Rauschenberg, Jasper Johns, Toulouse-Lautrec, Jackson Pollock, Pablo Picasso, David Smith, Rene Magritte, Mark Rothko, Camille Pissarro, Henri Matisse, Frank Stella, Robert Motherwell, Édouard Manet, Pierre Bonnard, Alberto Giacometti, Joseph Cornell, Medardo Rosso, Francis Bacon,Julio Gozalez, John Chamberlain, Ronald Bladen, Jacques Henri Lartigue, Larry Poons, Diane Arbus, Marcel Duchamp, and many others.
Max Kozloff (born 1933) is an American Art Historian, art critic of modern art and photographer. He has been art editor at The Nation, and Executive Editor of Artforum. His essay, "American Painting During the Cold War" is of particular importance to the criticism on American Abstract Expressionism.