World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
OPEN 12—5 THU—FRI
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
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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.
2000, English
Softcover, 322 pages, 23 x 30 cm
1st edition, Out of print title / used*,
Published by
Self Service / Paris
$100.00 - Out of stock
Self Service Autumn / Winter 2000 Issue No. 13!
"The Influence"
Special early issue of one of the world's finest fashion publications, featuring Veronique Branquinho on the cover photographed by Anuschka Blommers & Niels Schumm. The feature section "The Influence" is dedicated to portrait photography of some of the world's leading creators in fashion and culture, photographed also by Anuschka Blommers & Niels Schumm, including Susan Cianciolo, Raf Simons, Hussein Chalayan, Jeremy Scott, Nicholas Ghesquiére, Véronique Leroy, Victor & Rolf, and many more. Each portrait is accompanied by an interview.
The Icon section is a rare interview with Rei Kawakubo of Commes des Garçons, including Comme photography and graphics section.
Also includes interview feature on Charlotte Gainsbourg shot by Horst Diekgerdes, conversations with Joseph Holtzman of Nest Magazine, Kim Gordon and Thurston Moore of Sonic Youth, Zoe Cassavettes, and so much more. Oh, and the great early "100 things" and "backstage" sections. A very nice, rare early issue.
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.
2016, English
Softcover (over-sized), 136 pages, 25 x 37 cm
Published by
Encens / Paris
$58.00 - 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 35 "Single Mind" (Spring/Summer 2016) features Helmut Newton, Adolf Loos, Celine, Greta Garbo, Cecil Beaton, Franceso Brigid, Nehera, Dries Van Noten, Allude, Hermes, Giorgio Armani, Isabel Benenato, Cedric Charlier, Y/Project, Olivier Jacquet, Lucio Vanotti, Hed Mayner, Lemaire, Diorre Homme, Chanel, Saint Laurent Paris, Axl Jansen, Givenchy, Heide Ackermann, Cecile Bortoletti, Gordon Matta-Clark, Mathias Kiss, Sybille Walter, Cartier, Kenzo, Ghislain Mollet-Vieville, Daniel Buren, Sol Lewitt, Carl Andre, Walter de Maria, Niele Toroni, Joseph Kosuth, Christian Dior, YSL, Issey Miyake, and much more.
2016, English
Softcover, 158 pages, 21 x 29 cm
Published by
Pataphysics Books / Melbourne
$20.00 - In stock -
Fantastic new issue from Melbourne's Pataphysics Magazine!
The "MIRAGE ISSUE" features:
Brook Andrew - Systems of Allowance
Hany Armanious - Light
Del Kathryn Barton - The Stars Eat Your Body
Marcus Bergner - Four Designs
Stephen Bram - Collages
Claude Cahun - Aveux non Avenus
Mark Cohen - Interview and Photographs
Fiona Connor - Wall Section (home)
Mikala Dwyer - Saint Jude’s Leftovers
Hans Eijkelboom - In the Newspaper
Ivars Gravlejs - Interview and Photographs
Janina Green - Be Home Before Dark
Eliza Hutchison - Photographs
David Noonan - Collages
Ron Padgett - Man to Man
Barrington Vincent Sherman - Tenebrae Visibiles
Michael Williams - Photographs
Konrad Winkler - Julie
2016, English
Softcover (spiral-bound w. flexidisc), 208 pages, 20 x 31 cm
Published by
Walker Art Centre / Minneapolis
$85.00 $45.00 - Out of stock
Despite its apparent throwaway status, the stock image comprises the primary commodity of a billion-dollar global industry with far-reaching effects in the marketplace and the public sphere. Taking this overlooked facet of contemporary life as a point of departure, "Ordinary Pictures" explores the photographic apparatuses and commercial interests that have given rise to our generic image culture through the conceptual image-based work of some 40 artists, including John Baldessari, Steven Baldi, Sarah Charlesworth, Anne Collier, Liz Deschenes, John Divola, Aleksandra Domanovi c, Hans-Peter Feldmann, Morgan Fisher, Hollis Frampton, Jack Goldstein, Rachel Harrison, Robert Heinecken, Leslie Hewitt, Elad Lassry, Louise Lawler, Sherrie Levine, Steve McQueen, Jack Pierson, Peter Piller, Seth Price, Amanda Rossotto, Ed Ruscha, Steven Shore, Sturtevant, Mungo Thomson, Wolfgang Tillmans, Tseng Kwong Chi, Julia Wachtel and Christopher Williams. Spanning generations, movements and artistic strategies from the 1960s to the present day, this publication brings together works by artists who have probed, mimicked and critiqued this aspect of our visual environment as well as its industrial modes of production and distribution. Through the work of these artists and a series of scholarly essays, the catalogue aims to examine different operations of the generic image in culture, namely its anonymous circulation and editorial uses, its adaptability and reproducibility, its technical processes of production, its claim to copyright and artistic license and its tendency toward abstraction. Featuring a unique, coil-bound design reminiscent of stock photo catalogues and a flexidisc recording by the artist Jack Goldstein, this highly collectible book ultimately reflects on contemporary art's own complicit function as an expanding industrial image economy.
Edited by Eric Crosby, texts by Lane Relyea and Thomas Beard.
2016, English
Softcover, 192 pages + 92 page booklet, 23 × 30 cm
Published by
Discipline / Melbourne
$30.00 - Out of stock
Edited by Nicholas Croggon, David Homewood, & Helen Hughes; with a guest edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center; and designed by Robert Milne.
Contents
Cover : Gordon Bennett
Editorial by Nicholas Croggon, David Homewood & Helen Hughes
Elizabeth Newman: Abstraction, Simulation, Obscuration by Francis Plagne
Critical Ambiguity: A Kantian Reading of Recent Work by Juan Davila by Helen Johnson
Trans-Pacific: Abstract Painting in Australia, New Zealand and America 1930–1960 by Rex Butler & A.D.S. Donaldson
Object Documentation by David Homewood & Bronté Lambert
The Dispute at the 19th Biennale of Sydney by Michael Ascroft
Illusion in Wendy Paramor’s Triad by Amelia Sully
Ambient Perspective and Endless Art by Nikos Papastergiadis & Amelia Barikin
Figures of the Machine: Richard Tuohy’s Halftone Films by Giles Fielke
Non-Resolution IRL by Danni Zuvela
Interview with Hito Steyerl by Amelia Groom
The Three Bodies of Angus Cerini by Jon Roffe
Encountering a Collection: Fiona Connor’s Wallworks by Kate Warren
What it’s Like to Dance Naked in the Museum and Other Thoughts: Stuart Ringholt’s Kraft (2014) by Liang Luscombe & Patrice Sharkey
Contemporary Art and Contemporaneity: Reflections on Method, Review of Reviews (Part 2) by Terry Smith
The Eternal Return of Irony: Gordon Bennett (1955–2014) by Ian McLean
Clothes by Centre for Style
Back Cover : John Citizen
Guess edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center (loose booklet in Bahasa and English)
Holopis Kuntul Baris: Karya Seni di Era Kolaborasi yang Tampak Mekanis / Holopis Kuntul Baris: The Work of Art in the Age of Manifestly Mechanical Collaboration
Pengantar/Introduction by Ferdiansyah Thajib
Kerangka Kolektivitas/Terms of Collectivity by Simon Soon
Wok the Rock & Co.: Memahami Persahabatan dalam Dunia Seni Yogyakarta/Wok the Rock & Co.: Making Sense of Friendship in Yogyakarta’s Art Scene by Nuraini Juliastuti
Punkasila, Kerjasama dan Persahabatan/Punkasila, Cooperation and Friendship by Syafiatudina
Hestu A. Nugroho (Setu Legi)
(artist pages)
2001, English
Hardcover (w. CD), 28 pages, 20 x 32 cm
1st edition, Out of print title / used*,
Published by
Toys Factory / Tokyo
$90.00 - Out of stock
Hardcover Japanese first (and only) edition book documenting Issey Miyake's 2001 spring-summer collection and "Red Eyes Tribe" show. Designed by Kaie Murakami from Issey Miyake, art directed by Midori Kitamura from Miyake Design Studio and photographed by French photographer Francoise Huguier, the book beautifully captures this 2001 collection designed by Issey Miyake and Naoki Takizawa through runway and backstage colour photography and an accompanying CD of music composed specifically for the runway show by Japanese musicians Silent Poets.
1972, Japanese
Softcover (w. dustjacket), 340 pages, 15.5 x 22 cm
1st Japanese edition, Out of print title / used*,
Published by
? / Japan
$45.00 - In stock -
Japanese edition of this classic collection of writings from the great Jonas Mekas.
Please note, texts in this scarce edition are entirely in Japanese.
In his Village Voice Movie Journal columns, Jonas Mekas captured the makings of an exciting movement in 1960s American filmmaking. Works by Andy Warhol, Gregory J. Markapoulos, Stan Brakhage, Jack Smith, Robert Breer, and others echoed experiments already underway elsewhere, yet they belonged to a nascent tradition that only a true visionary could identify. Mekas incorporated the most essential characteristics of these films into a unique conception of American filmmaking s next phase. He simplified complex aesthetic strategies for unfamiliar audiences and appreciated the subversive genius of films that many dismissed as trash.
2016, English
Hardcover (diecut), 208 pages, 29.8 x 19.7 cm
Published by
Inventory Press / New York
Koenig Books / London
$58.00 - Out of stock
French artist Camille Henrot (b. 1978) works in many formats, such as digital media, video installation, and sculpture. In her oeuvre she explores human bodies, information media, and layers of meaning.
This catalogue is published for the artist’s first large-scale solo exhibition, The Pale Fox in Germany (Westfälischer Kunstverein, Munich, 2015). The exhibition is dedicated to our endeavour to make sense of our world and our existence via objects that surround us and the way in which they relate to one another.
Henrot orders and arranges over 400 photographs, watercolours, bronzes and artefacts according to principles that obtain from the most diverse cultural, philosophical and biological contexts, primarily demonstrating, in a superimposition of this kind, the excesses of this compulsive desire for order that purportedly leads to the acquisition of knowledge.
The ‘Pale Fox’ in the title is taken from an anthropological study of the West African Dogon tribe (Griaule/Dieterlen 1965). In their religion, the pale fox stands for disorder and chaos, but equally for genesis and becoming; disorder is judged thus not as a transgression but as a necessary condition for creativity.
At the same time, for Henrot, the figure of the pale fox represents a symptom of our digital age: the avid human driven by curiosity and impatience, whose pale complexion reflects the luminous play of the computer screen through which he peers at the world at night from the sanctity of his burrow.
Camille Henrot was awarded the prestigious Silver Lion at the 55th Biennale di Venezia in 2013 and garnered the Kunststiftung NRW’s Nam June Paik Award in November 2014.
Texts by Michael Connor, Clara Meister, Kristina Scepanski
Published by Koenig Books, London and Inventory Press, New York
2016, English / German
Softcover, 112 pages, 27.5 x 20 cm
Published by
Walther König / Köln
$47.00 $30.00 - Out of stock
From 2011 to 2013, Danh Võ had a full-scale replica of the Statue of Liberty (We The People) built in 267 pieces, without intending to ever show the reproduction in its entirety. His exhibition at the Museum Ludwig, Cologne (1 August – 25 October 2015) featured the largest contiguous piece of this copper sculpture.
Võ placed the six-meter-high installation and other new works in an eloquent dialogue on the fragmented body, sexuality, religion, identity, and migration with selected works by the American photographer Peter Hujar, without allowing individual motifs to form patterns of interpretation.
Along with an extensive text by curator Yilmaz Dziewior, the exhibition catalogue includes photographs and installation views of all the works in the exhibition.
2016, English
Hardcover (w. dustjacket), 320 pages, 25 x 29.2 cm
Published by
Walther König / Köln
$78.00 - Out of stock
Wolfgang Tillmans' (born 1968) "Truth Study Centre" has been a fixed component of his exhibitions since he first showed a version of the multipart tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the "Truth Study Centre" works mark an endeavor to establish a clear perspective in confusing times. The scope and complexity of this project become apparent for the first time through this book, the second-following "Manual" (2007)-dedicated to this set of works. Over the span of 320 pages (printed using a high-resolution technique), Tillmans presents an alternative chronology of the present. Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 78 inches long, and with one of four different standard widths. This book gives an overview, through lavish reproductions, of this new form of collage, in which picture, text and object "are only kept in place by their own weight," as the photographer puts it. An essay by Tom McDonough, Professor for Art History at Birmingham University, New York, places Tillmans' project within the context of 20th-century collage, from Hannah Höch to Robert Rauschenberg. This artist's book, produced in Tillmans' Berlin atelier, includes a Fresnel magnifying glass, making it possible to zoom in on the contents and read even the smallest of printed texts.
2016, English
Softcover (w. banderole), 512 pages, 16 x 22 cm
Published by
Sternberg Press / Berlin
$45.00 - In stock -
This volume is a collection of dynamic and engaged writings by art historian John C. Welchman on a range of contemporary European artists: Vasco Araújo, Cosima von Bonin, Jan De Cock, Orshi Drozdik, Susan Hiller, Andy Hope 1930, Michael Kunze, Nathaniel Mellors, Miguel Palma, José Álvaro Perdices, Sascha Pohle, Thomas Raat, Nicola Stäglich, and Xavier Veilhan. Anchored in concerns that emerged in the late 1960s and 1970s, Welchman poses thoughtful and provocative questions about how these artists receive and negotiate the social and aesthetic histories through which they live and work.
Past Realization inaugurates XX–XXI, John C. Welchman’s two-part series on European art from this and the last century, which will be followed by a series on West Coast artists and one on the work of Mike Kelley.
Design by Metahaven
2016, English
Hardcover, 358 pages, 30 x 24 cm
Published by
Self Service / Paris
$45.00 $20.00 - Out of stock
Self Service Spring / Summer 2016 Issue 44
Self Service Spring / Summer 2016 Issue 44 features David Sims, Ezra Petronio, Inez & Vinoodh, Coco Capitán, Cass Bird, Roe Ethridge, Alasdair Mclellan, Mario Sorrentti, and more. Issue 44 features model mothers, and dialogs with Charlotte Cotton, Emmanuel Perrotin, Irene Silvagni, and so 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.
1991, Japanese / French
Softcover, 147 pages (colour and b/w ill.), 33 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Yomiuri Shimbun / Tokyo
$90.00 - Out of stock
Scarce Japanese large-format catalogue produced on the occasion of the Man Ray retrospective exhibition at Bunkamura Museum of Art, July 5-Aug. 4, 1991, organized by Bunkamura, The Yomiuri Shimbun, and Japan Association of Art Museums; and at five other institutions until Feb. 16, 1992.Tokyo, in 1991. Includes a wonderful collection of Man Ray's photography, art objects, paintings, drawings, etc. Texts are in Japanese and French.
Very Good with some light cover wear.
1995, Japanese
Softcover (French-folds), 288 pages, 27 x 21.5 cm
1st edition, Out of print title / used*,
Published by
Tokyo Metropolitan Museum of Photography / Tokyo
$200.00 - Out of stock
Wonderful first edition of this now very scarce Japanese photography book published in 1995 by Tokyo Metropolitan Museum of Photography, Tokyo, Japan on the occasion of the major photography retrospective "The Founding and Development of Modern Photography in Japan", held between 21 January-26 March 1995.
Fine historical photographic works by 76 Japanese artists are beautifully reproduced in this handsome edition, alongside reproductions of page-spreads from important modern Japanese photography publications such, complete list of exhibited works, and texts in English and Japanese, including "Consciousness and Expression of the Modern"; "The Modern in Lyricism"; "Photographs as Modern Forms of Expression"; "In Search of a New Image of the Photographer".
Artists included:
Isshū Nagata, Koshiro Onchi, Manshichi Sakamoto, Iwata Nakayama, Kiyoshi Koishi, Jun Watanabe, Ei-Q, Masaki Yamaguchi, Hiroshi Hamaya, Shoji Ueda, Hisashi Hisano, Wataru Takahashi, Keiichiro Goto, Kansuke Yamamoto, Tsugio Tajima, Minoru Sakata, Koro Honjo, Sutezo Otono, Kametaro Kawasaki, Bizan Ueda, Nakaji Yasui, Yoshio Tarui, Toshinobu Yano, Kiyoshi Koishi, Kiyoshi Nishiyama, Ori Umesaka, Shinzo Fukuhara,Roso Fukuhara, Yasuzo Nojima, Mitsugi Arima, and many more.
Foreward:
"... With the Meiji Restoration, Japan began its march towards modernization. As part of that process, photography, which had reached Japan in the waning days of the Edo period, spread throughout society. The Taisho era saw the rise of Taisho Democracy, with its respect for the individual as a human being. Paralleling that movement, photography became a popular medium closely involved in the lives of ordinary people, thanks to technical advances that made photography simpler and more accessible. By the start of the Showa period, the modernization of Japan was an accomplished fact, and photography was no longer simply another means of expression; through modernization it acquired social qualities. Japan, however, was on the path to war, a tragedy arising from the strains of modernization, and the collapse of everything that had been built up over the previous decades became unavoidable. Photography, as an art that had developed in the process of building a modern society, underwent a metamorphosis as the times overtook art. This exhibition takes the view that the history of modern photography is part of the history of modern Japan, and is an attempt to provide a thought-provoking retrospective of modern photography while posing the question, “What is the modern?""
January, 1993, Tokyo Metropolitan Museum of Photography
1994, English / Japanese
Softcover (w. French folds), 147 pages, 26 x 23 cm
1st Edition, Out of print title / Used*,
Published by
Shiseido Gallery / Tokyo
$220.00 - Out of stock
A fine first printing example of this heavily illustrated Shinzo Fukuhara book published to commemorate the Shiseido Gallery 75 year anniversary with the major photographic exhibition "The World of Shinzo Fukuhara - Poetics of Light" in 1994. Texts in English and Japanese by Yoshiharu Fukuhara, Yuri Mitsuda, and more.
Often called the father of Japanese modern photography, Shinzo Fukuhara – a traveler, a businessman, an aesthete, a theorist, is an author of nostalgic, melancholy pictures and considered a pioneer of Japanese art photography and a true renaissance man. Trained as a scientist and pharmacologist in Japan and the U.S. (Columbia University), he was the first CEO of Shiseido Company, Ltd and a pioneer in modern cosmetic marketing and design. In 1912 he traveled to Europe visiting England, Italy, Germany and France, where he settled in Paris. There he joined a group of young Japanese artists and while there took over 2000 photographs of the city (later published as “Paris et la Seine” in 1922). In 1923 Shinzo Fukuhara published his groundbreaking book “Hikari to Sono Kaicho” (Light with its Harmony) which proposed applying the Japanese aesthetic of haiku poetry to photography.
Shizo’s contributions to creating and promoting photography as an art form cannot be overstated. In 1921 he and his brother Roso Fukuhara established the Shashin Geijutsu-sha, a group of art photographers dedicated to pictorialism. This group mounted exhibitions at the prestigious Shiseido Gallery and published the journal Shashin Geijutsu. In 1924 Shinzo and Roso founded the Nihon Shashin-kai (Japan Photographic Society).
1992, English / Japanese
Hardcover (clothbound w. dust jacket), 25 x 30 cm
1st Edition, Out of print title / Used*,
Published by
Wateri Museum of Contemporary Art / Tokyo
$220.00 - In stock -
Exquisite first edition, first printing of "The Light With Its Harmony: Shizo Fukuhara / Roso Fukuhara – Photographs 1913-1941” published by The Watari Museum of Contemporary Art, Tokyo in 1992 on the occasion of a major exhibition of the Fukuhara brothers work at the museum. ". The book is a wonderful and important resource for the work of the Fukuhara brothers and includes biographies of the artists and texts (in Japanese and English), including Foreword by Shizuko Watari, "My Uncles, Shinzo and Roso" by Yoshiharu Fukuhara, "Living Well is the Best Revenge" by Kotaro Sugiyama, "A Place Where the Light is Just Right: Shinzo and Roso Fukuhara" by Kotaro Iizawa, "Shinzo Fukuhara's Active Period" by Noriyoshi Sawamoto.
Beautiful photographic reproductions throughout - 54 Duotone Photographs by Shinzo Fukuhara and 35 Duotone Photographs by Roso Fukuhara.
Often called the father of Japanese modern photography, Shinzo Fukuhara– a traveler, a businessman, an aesthete, a theorist, is an author of nostalgic, melancholy pictures and considered a pioneer of Japanese art photography and a true renaissance man. Trained as a scientist and pharmacologist in Japan and the U.S. (Columbia University), he was the first CEO of Shiseido Company, Ltd and a pioneer in modern cosmetic marketing and design. In 1912 he traveled to Europe visiting England, Italy, Germany and France, where he settled in Paris. There he joined a group of young Japanese artists and while there took over 2000 photographs of the city (later published as “Paris et la Seine” in 1922). In 1923 Shinzo Fukuhara published his groundbreaking book “Hikari to Sono Kaicho” (Light with its Harmony) which proposed applying the Japanese aesthetic of haiku poetry to photography.
Shizo's contributions to creating and promoting photography as an art form cannot be overstated. In 1921 he and his brother Roso Fukuhara established the Shashin Geijutsu-sha, a group of art photographers dedicated to pictorialism. This group mounted exhibitions at the prestigious Shiseido Gallery and published the journal Shashin Geijutsu. His brother Roso Fukuhara was also an accomplished photographer. Despite never having his photography published, he is considered a major contributor to the Japanese pictorialist photographic tradition with his strikingly modern approach, breaking from the past to create experimental photographic juxtapositions and printing methods. In 1924 Shinzo and Roso founded the Nihon Shashin-kai (Japan Photographic Society).
In his essay, “The History and Theory of Photography”, Kotaro Iizawa writing about the Fukuhara brothers wrote, “Even amid such exquisite settings as a vast field, tall mountains, or a city street, one must be in a place where the light is just right, or one does not have the material for a photograph.” These words, stated by Shinzo Fukuhara, keep alive the photos and the memories of the Fukuhara brothers even today.”
A fine example of a now very rare and sought after original museum book on two of Japan's most important modern art photographers. Comes with inserted invitation to the later "Masters of Light" 2005 exhibition on the photographic work of Shinzo, Nobutatsu and Nobuyoshi Fukuhara and House of Shiseido, Ginza, Tokyo.
Softcover (with dust jacket), 103 pages (colour & b/w ill.), 27.5 x 21 cm
1st edition, Out of print title / used*,
Published by
Heibonsha Limited Publishers / Tokyo
$80.00 - Out of stock
Iwata Nakayama (1895–1949) was a pioneer of Japanese avant-garde photography. For a period he set up his own studio in New York before moving to Paris where he came to know Man Ray and László Moholy-Nagy. He returned to Japan in 1927 and began to work as a professional photographer in Kobe. He founded Ashiya Camera Club in 1930 with Hanaya Kanbei and other photographers in the Kobe area. In 1932, he, Yasuzō Nojima and Nobuo Ina published their monthly magazine Kōga (光画). This magazine was a critical turning point of Japanese artistic photography. From 1930 to 1942 the members of the ACC were some of the most influential modernist photographers in Japan practicing radical design concepts they labeled “Shinko Shashin” or new photography movement.
1993, Japanese
Softcover, 249 pages (b/w ill.), 21 x 29 cm
1st Edition, Out of print title / Used*,
Published by
Tokyo Station Gallery / Tokyo
$185.00 - Out of stock
Catalogue for the 1993 exhibition at the Tokyo Station Gallery, Tokyo
Shoji Ueda is widely known for combining surrealist compositional elements with realistic depictions in his typically black and white images. The sand dunes of his native region of Tottori often provided a backdrop for his single and group portraits.
Early in his career, in the 1930s, Ueda had already absorbed many of the modernist tendencies then prevalent in photography in the West. This catalogue contains four sections--modernism, realism, attitude, and vision--with over 200 beautiful reproductions that touch on a dizzying range of photographic styles, from pictorialism to documentary to abstract/surreal, stylized fashion work. An incredible book of one of Japanese most visionary photographers.
2016, English / German
Softcover, 264 pages, 23 x 16.5 cm
Published by
Texte Zur Kunst / Berlin
$29.00 - Out of stock
ISSUE NO. 101 / MARCH 2016 “POLARITIES”
Issue No. 101 of Texte zur Kunst takes “Polarities” as its theme – a term we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. How do we understand the growing gap between the ideals of tech/smooth space (where the art world tends to reside, swiftly neutralizing any resistance as “content”) and the striated regions of material unrest? How do we understand “polarization” despite our dominant, and inherently continuous, neoliberal system? Given these macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves, could the image of polarization be something not to avoid but to engage; perhaps even a potentially generative model for times that are anything but ideology-free?
TABLE OF CONTENTS
PREFACE
ET SOUS LA PLAGE … ? / Philipp Felsch interviews Timothy Brennan on the state of left theory
HELMUT DRAXLER
ALWAYS POLARIZE? / Conditions and limitations of a model of argumentation
LIBERTY, EQUALITY, SECURITY / Four questions for Carolin Emcke
ENTER THE VOID / Roy Scranton and @LILINTERNET on hyperreality and reflexive narrative
DANIEL COLUCCIELLO BARBER AND DAVIS RHODES
THE TERROR WITHIN
ANTEK WALCZAK
GLOBALLY POSITIONED
GABRIELE WERNER
HEIMAT / Notes on the enduring renaissance of an idea
BILDSTRECKE
GERHARD RICHTER
"12 PHOTOGRAPHS OF ULRIKE MEINHOF" / Taken in October 1966 for "Konkret" by Inge-Maria Peters
NEW DEVELOPMENT
NATIONAL CUSTOMS / Sven Lütticken on Germany's Kulturgutschutzgesetz
ROTATION
IST DER MENSCH DOCH NOCH ZU RETTEN? / Svenja Bromberg über Nina Powers Aufsatzsammlung „Das kollektive politische Subjekt“
HEY MOTHERFUCKERS, HERE IS YOUR GENERATIONAL NOVEL / Tobias Madison über Seth Prices Roman „Fuck Seth Price“
SHORT WAVES
Hans-Jürgen Hafner über Daniel Richter in der Schirn Kunsthalle, Frankfurt/M. / Astrid Mania über Verena Pfisterer bei Exile, Berlin / Ana Teixeira Pinto on Július Koller at the Museum of Modern Art, Warsaw / Beate Söntgen über Joan Mitchell im Museum Ludwig, Köln / Daniel Keller on Peter Fend at Barbara Weiss and Oracle, Berlin / Manfred Hermes über Anne Speier bei Silberkuppe, Berlin
REVIEWS
SPERRIGE NAHEVERHÄLTNISSE / Eva Kernbauer über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
DER GESCHMACK DES PRIVATEN / Barbara Buchmaier und Christine Woditschka über die Sammlung Würth im Martin-Gropius-Bau, Berlin
BENEFITS / Sarah Lookofsky on “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art, New York
NOBODY EVER DID WHAT WE DID / David Rimanelli on Dash Snow at the Brant Foundation Art Study Center, Greenwich, Connecticut
MALEREI MALGRÉ TOUT / Maria Muhle über „Painting 2.0“ im Museum Brandhorst, München
PUNK’S NOT DEAD, JUST DIFFERENT / Gili Tal on “Rum, sodomy, and the lash” at Eden Eden, Berlin
WITHIN YOU WITHOUT YOU / Jenny Nachtigall on Carolee Schneemann at Museum der Moderne, Salzburg
FREMDE ZUNGEN / Yilmaz Dziewior über „Slip of the Tongue“ in der Punta della Dogana, Venedig
LOCAL UNION / Rhea Anastas on Union Gaucha Productions at Artists Space, New York
EDITION
THEA DJORDJADZE
DANA SCHUTZ
2015, English
Softcover, 176 pages, 17 x 23 cm
Published by
Witte de With / Rotterdam
$38.00 - Out of stock
Art In The Age Of… was published on the occasion of the eponymous yearlong cycle presented at Witte de With Center for Contemporary Art, Rotterdam (23 January 2015 – 3 January 2016). This series articulated itself through three exhibitions; Art In The Age Of…Energy And Raw Material, Art In The Age Of…Planetary Computation, and Art In The Age Of…Asymmetrical Warfare, alongside a related discursive program and film screenings.
Art In The Age Of… was staged to investigate future vectors of art production in the 21st century, highlighting the circulation of art and its underlying economies rather than its territorial location, its spread and infectious expanse rather than its arrest within narrowly defined genealogies and media.
With a focus on topical areas of urgency within art’s creation and its dispersal, spanning energy and raw materials, planetary computation, and asymmetric warfare, the Art In The Age Of… publication both records and expands research feeding this year-long program through interviews and essays by key contributors, alongside specially commissioned artist interventions.
Edited by Defne Ayas (director, Witte de With), Natasha Hoare (associate curator, Witte de With), and Adam Kleinman (chief editor, WdW Review), the book features interviews with artists involved in the various exhibitions of Art In The Age Of…, including Rossella Biscotti, James Bridle, Céline Condorelli, John Gerrard, Femke Herrengraven, David Jablonowski, Navine G. Kahn-Dossos, John Menick, Trevor Paglen, Susan Schuppli, Tom Tlalim; commissioned essays by theorists, curators and cultural historians involved in its discursive program, including contributions by Alexandra Bradford, Natasha Ginwala, Mike Jay, and Mohammad Salemy; interventions by artists Nina Canell and David Jablonowski; as well as visual documentation of the three exhibitions.
1998, English / Japanese
Hardcover (w. dustjacket), 80 pages, 22.4 x 16.2 cm
1st edition / Out of print title / used*,
Published by
Korinsha Press / Japan
$130.00 - Out of stock
Comme des Garçons book from the late 1990s MEMOIRE DE LA MODE series. This title was printed in 1998 in England, France, Germany and Japan, all editions of which are now quite collectable. This is the first printing of the Japanese edition. An almost entirely photographic volume that collects together the advertising and publicity materials and imagery from the great Japanese fashion label Comme des Garçons in the period of 1982-1997. A graphic history of CdG, featuring the work of many acclaimed artists, designers and photographers that Rei Kawakubo collaborated with over the years. Compiled by French Grand and art direction by Inoue Tsuguya. Published by Korinsha Press.
2015, English
Softcover, 240 pages, 23 x 29 cm
Published by
PIN-UP MAGAZINE
$32.00 - Out of stock
PIN-UP issue 19 : The great Indoors
Fall/Winter 2015/16
FEATURING: Jean Nouvel, Ippolito Pestellini Laparelli, Wendy Goodman, Pedro Friedeberg, Trix and Robert Haussmann, Ugo Rondinone, Yrjö Kukkapuro, Luca Cipelletti, and Mos Architects.
PLUS: Jessi Reaves, Soft Baroque, Toshiko Mori and Tomas Maier, Candida Höfer, Carmen Herrera, Avery Singer, Mickalerie Thomas, Kaari Upson, Sahra Motalebi, Lena Henke, and Diane Simpson.
2015, English / Italian
Softcover (newspaper), 334 pages, 25 x 36 cm
Published by
Mousse Publishing / Milan
$18.00 - Out of stock
Mousse 51 is a photo issue dedicated to exhibitions from 1985 to 1995, the last ten years or so before exhibitions went online, and possibly, before the exhibition view became a requisite genre. Up to 20 years ago, galleries and museum, art magazines and schools had no websites; viewing a show would mean, quite simply, visiting it. A great number of seminal shows—from small but consequential artists’ debuts in private galleries, to the innovative biennial iterations in new territories and continents, to thematic and now historicized institutional exhibitions—were richly studied, avidly discussed, but poorly photographed, if at all. This issue is an album of recommendations, for which we are very grateful to all the writers, artists, curators, dealers, and friends who accepted to share with us their favorite shows.
The Artist as Curator
Issue #10 an insert in Mousse Magazine #51
This is the last installment of The Artist as Curator, a serial publication* examining the fundamental role artists have played as curators, from the postwar period to the present, edited by Elena Filipovic, that appeared as a special insert in Mousse over the past two years. In this issue, Natalie Musteate discusses Womanhouse (1972) by Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program, while Ekaterina Degot addresses Avdey Ter-Oganyan’s Toward the Object from 1992. This installment is realized in partnership with the Centre d’art Contemporain Genève and Museo Marino Marini, Florence.
1990, English
Softcover (french-folds), 34 x 25 cm
1st edition, Out of print title / used*,
$110.00 - Out of stock
TERRAZZO 4
Spring 1990
COLORS
3 surveys of thoughts and ideas on the subject of color
ETTORE SOTTSASS
Large, medium and small size private houses
Letter by Aldo Rossi
photographs by Santi Caleca
TRAVEL NOTES
by Ettore Sottsass
on architectural drawings
HELMUT NEWTON
Cities and towns
TOMBSTONE: FOUR PIECES AND CODA ON THE IDEA OF BURIAL
by Francesco Pellizzi
photographs by Ettore Sottsass
CRAIG HODGETTS MING FUNG
You send me
by Herbert Muschamp
CARLOS HIMENEZ
interview by Viola Marquez
C.A.D.
by David Kelley
VERY RARE AND IMPORTANT
by J.B. Archer
PLANS (No. 4)
A baroque story
by Luigi Seraini
MASSIMO GIACON FRESCOS 1988-1989
by Ambrogio Borsani
photographs by Santi Caleca