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:
THU—FRI 12—6 PM
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
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
2023, English
Hardcover (w. dust jacket), 288 pages, 25.4 x 19 cm
Published by
Princeton University Press / New York
$89.00 - Out of stock
How California's counterculture of the 1960s to 1980s profoundly shaped—and was shaped by—West Coast artists.
The 1960s exert a special fascination in modern art. But most accounts miss the defining impact of the period's youth culture, largely incubated in California, on artists who came of age in that decade. As their prime exemplar, Bruce Conner, reminisced, "I did everything that everybody did in 1967 in the Haight-Ashbury. . . . I would take peyote and walk out in the streets." And he vividly channeled those experiences into his art, while making his mark on every facet of the psychedelic movement—from the mountains of Mexico with Timothy Leary to the rock ballrooms of San Francisco to the gilded excesses of the New Hollywood. In The Artist in the Counterculture, Thomas Crow tells the story of California art from the 1960s to the 1980s—some of the strongest being made anywhere at the time—and why it cannot be understood apart from the new possibilities of thinking and feeling unleashed by the rebels of the counterculture.
Crow reevaluates Conner and other key figures—from Catholic activist Corita Kent to Black Panther Emory Douglas to ecological witness Bonnie Ora Sherk—as part of a generational cohort galvanized by resistance to war, racial oppression, and environmental degradation. Younger practitioners of performance and installation carried the mindset of rebellion into the 1970s and 1980s, as previously excluded artists of color moved to the forefront in Los Angeles. Mike Kelley, their contemporary, remained unwaveringly true to the late countercultural flowering he had witnessed at the dawn of his career.
The result is a major new account of the counterculture's enduring influence on modern art.
2021, English
Softcover, 144 pages, 12 x 19 cm
Published by
Rab-Rab Press / Helsinki
$38.00 - Out of stock
Punk Suprematism includes the first English translation of theoretical writings on punk, art, socialism, bureaucracy, and nationalism by Slavoj Žižek, Rastko Močnik, and Zoja Skušek.
Written in the first half of the eighties, these texts are a unique mixture of punk attitude with theoretical concepts borrowed from Althusser, Lacan, and avant-garde art. Written in a turbulent period of Yugoslav socialism, these texts were trying to understand the political importance of punk as a mass movement of impoverished youth. The conclusions of these interventions had a lasting effect on the theoretical formation of Yugoslav post-Marxism, as well to the organizational forms of the socialist alternative. The book also includes a foreword on the historical context of the eighties and the extensive narrative bibliography of punk related publications in the Socialist Republic of Slovenia written by Sezgin Boynik. In addition to this, it also includes translations of the two editorials to Punk Problemi written by renowned Slovenian theoreticians.
The book is the first in an upcoming series on punk research by Rab-Rab press. The series starts from the idea that punk is a break, and focuses on punk as something completely separated from bourgeois culture.
2022, English
Softcover, 184 pages, 27 x 22 cm
Published by
Blank Forms / New York
$69.00 - In stock -
A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor, and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman, and Larry Neal between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and a range of musicians, from Mtume to Black Unity Trio, to devise new styles of music writing. The publication emerged from the heart of a political movement—“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface—and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy, who argues that The Cricket “attempted something that was in many ways entirely new: creating a form of music writing which united politics, poetry, and aesthetics as part of a broader movement for change; resisting the entire apparatus through which music is produced, received, appreciated, distributed, and written about in the Western world; going well beyond the tried-and-tested journalistic route of description, evaluation, and narration.”
Contributors include: A.B. Spellman, Imamu Baraka (LeRoi Jones), Larry Neal, Cecil Taylor, Milford Graves, Sun Ra, Ben Caldwell, Clyde Halisi, Don L. Lee (Haki R. Madhubuti), Duncan Barber, Gaston Neal, Hilary Broadus, James Stewart, Norman Jordan, Roger Riggins, Ronnie Gross, Stanley Crouch, Albert Ayler, Askia Muhammed Toure, Donald Stone, E. Hill, Haasan Oqwiendha Fum al Hut, Ibn Pori 'det, Ishmael Reed, Joe Goncalves, Larry A. Miller (Katibu), Sonia Sanchez, Willie Kgositsile, Billy (Fundi) Abernathy, Dan Dawson and Black Unity Trio.
David Grundy is the author of A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets (Bloomsbury Academic, 2019) and coeditor, with Lauri Scheyer, of Selected Poems of Calvin C. Hernton (Wesleyan University Press, forthcoming). He is currently a British Academy Fellow at the University of Warwick, United Kingdom, where he is working on two manuscripts, Survival Music: Free Jazz Then and Now and Never by Itself Alone: Queer Poetry in Boston and San Francisco, 1943–Present (Oxford University Press, forthcoming), and a further edited collection on Umbra.
A.B. Spellman is a poet, music critic, and former director of the Arts in Education Study Project for the National Endowment of the Arts.
2022, English
Softcover, 416 pages, 15.3 x 23.4 cm
Published by
Verso / London
$65.00 - Out of stock
During the 1960s and 1970s, Workerism and Autonomia were prominent Marxist currents. However, it is rarely acknowledged that these movements inspired many visual artists such as the members of Archizoom, Gordon Matta-Clark and Gianfranco Baruchello.
This book focuses on the aesthetic and cultural discourse developed by three generations of militants (including Mario Tronti, Antonio Negri, Bifo and Silvia Federici), and how it was appropriated by artists, architects, graphic designers and architectural historians such as Manfredo Tafuri. Images of Classsignposts key moments of this dialogue, ranging from the drawings published on classe operaia to Potere Operaio's exhibition in Paris, the Metropolitan Indians' zines, a feminist art collective who adhered to the Wages for Housework Campaign, and the N group's experiments with Gestalt theory.
Featuring more than 140 images of artworks, many published here for the first time, this volume provides an original perspective on post-war Italian culture and new insights into some of the most influential Marxist movements of the twentieth and twenty-first centuries worldwide.
“The 1970s in Italy were a decade of social conflicts and intense cultural and aesthetic innovation, but only now, thanks to the Galimberti’s book we can have a glimpse of the visual dimension of the movement of Autonomia and of the cultural field that is generally known as “operaismo”.”—Franco "Bifo" Berardi
2014, English
Softcover, 496 pages, 15.2 x 22.9 cm
Published by
Pm Press / Oakland
$46.00 - Out of stock
The Day the Country Died features author, historian, and musician Ian Glasper (Burning Britain) exploring in minute detail the influential, esoteric, UK anarcho punk scene of the early Eighties.
If the colorful '80s punk bands captured in Burning Britain were loud, political, and uncompromising, those examined in The Day the Country Died were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately.
With Crass and Poison Girls opening the floodgates, the arrival of bands such as Zounds, Flux of Pink Indians, Conflict, Subhumans, Chumbawamba, Amebix, Rudimentary Peni, Antisect, Omega Tribe, and Icons of Filth heralded a brand new age of honesty and integrity in underground music. With a backdrop of Thatcher's Britain, punk music became self-sufficient and considerably more aggressive, blending a DIY ethos with activism to create the perfectly bleak soundtrack to the zeitgeist of a discontented British youth.
It was a time when punk stopped being merely a radical fashion statement, and became a force for real social change; a genuine revolutionary movement, driven by some of the most challenging noises ever committed to tape. Anarchy, as regards punk rock, no longer meant "cash from chaos." It meant "freedom, peace, and unity." Anarcho punk took the rebellion inherent in punk from the beginning to a whole new level of personal awareness.
All the scene's biggest names, and most of the smaller ones, are comprehensively covered with new, exclusive interviews and hundreds of previously unseen photographs.
1997, English
Hardcover (w. dust jacket), 830 pages
1st Edition, Out of print title / used / very good
Published by
documenta / Kassel
$80.00 - Out of stock
First English edition of this monumental 830 page book for documenta X, the last documenta of the twentieth century and the first directed by a woman, the French curator Catherine David, brings together the work of more than 100 of the world's foremost thinkers, writers, and artists in an extraordinary anthology of seminal texts and images of, on, and about the development of Western cultural and critical theory since 1945.
The book "seeks to indicate a political context for the interpretation of artistic activities at the close of the twentieth century, through a montage of images and documents from the immediate post-war period to the present. The range of material treated here is not encyclopaedic; it represents a polemical attempt to isolate specific strands of artistic production and political endeavour which can be taken as references in the contemporary debate over the evolution of our societies. Drawing from distinct yet interrelated territorial and linguistic domains, the book singles out complex cultural responses to the unifying processes of global modernity."—from the book jacket.
A comprehensive work in itself, rich with enmeshed texts and illustrations of artworks, film stills, historical documents throughout in colour and in black and white.
Writers include: Theodor W. Adorno, Maurice Blanchot, Pier Paolo Pasolini, Paul Celan, Amílcar Cabral, Masao Miyoshi, Hannah Arendt, Michel Foucault, Gilles Deleuze, Félix Guattari, Jacques Rancière, Tadao Sato, Youssef Ishaghpour, Josef Beuys, Samuel Beckett, Albert Camus, Rainer Werner Fassbinder, Rem Koolhaas, Sandra Álvarez de Toledo, Witold Gombrowicz, Herve Joubert-Laurencin, Jean-François Chevrier, Marguerite Duras, Edward Said, Henri Alleg, Pierre Vidal-Naquet, Uwe Johnson, Jerzy Grotowski, James Clifford, Primo Levi, Pierre Clastres, Andrea Branzi, Fabrizio Gallanti, Gérard Chaliand, Stig Björkman, Daniel Defert, Saskia Sassen, Catherine David, Benjamin Buchloh, Paul Virilio, Serge Daney, Étienne Balibar, Nadia Tazi, and many others.....
Artists include : Archigram, Martin Kippenberger, Archizoom Associati, Art & Language, Hans Haacke, Oyvind Fahlström, Samuel Beckett, Franz West, Andrea Zittel, Heimo Zobernig, Nancy Spero, Jean-Luc Godard, Marcel Broodthaers, Lygia Clark, Jörg Herold, Fischli & Weiss, Dan Graham, Robert Adams, Peter Friedl, Paweł Althamer, Liam Gillick, Mike Kelley & Tony Oursler & Diedrich Diederichsen, Stan Douglas, Harun Farocki, Ed van der Elsken, Walker Evans, Aldo van Eyck, Heiner Goebbels, William Kentridge, Ulrike Grossarth, Richard Hamilton, Vito Acconci, Raymond Hains, Pier Paolo Pasolini, Siobhán Hapaska, Ecke Bonk, Carsten Höller & Rosemarie Trockel, Carl Michael von Hausswolff, Lois Weinberger, Hélio Oiticica, Gabriel Orozco, Olaf Nicolai, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Marc Pataut, Gordon Matta-Clark, Christian Philipp Müller, Matt Mullican, Antoni Muntadas, Jean-Luc Moulène, Reinhard Mucha, Álvaro Siza, Toyo Ito, John C. Portman Jr., Paulo Mendes da Rocha, Mariella Mosler, Josef Beuys, Steve McQueen, Chris Marker, Lothar Baumgarten, Jean Dubuffet, Kerry James Marshall, Maria Lassnig, Rem Koolhaas, Joachim Koester, Suzanne Lafont, Sigalit Landau, Helen Levitt, Garry Winogrand, Brassaï, Le Corbusier, Antonin Artaud, and so many more...
Very Good coy, light wear. Good dust jacket with some creasing and edge wear.
2021, English
Softcover, 234 pages, 22.4 x 29 cm
Published by
BATT Coop /Paris
$70.00 - In stock -
Osawatomie is a direct allusion to the eponymous battle waged by the abolitionist John Brown of whom Victor Hugo at the time of saving him from hanging says "Yes, let America know and think about it, there is something more frightening than Cain killing Abel, it is Washington killing Spartacus". By his call to the armed struggle to fight slavery Brown is part of a revolutionary culture which links him in particular to Auguste Blanqui.
At a time when the United States of America seems once again affected by the fever of resistance against racial and social inequalities, it seems opportune to put the documents of the radicals of the 1960s and 1970s back into circulation. The context of the struggle for civil rights and the military expansion in Vietnam then allowed the emergence of a militant generation such as the country had not known since the crushing of the unionism of the IWW (Industrial Worker of the World) and the hunt for communists. From Ghettos to Universities, groups are suddenly forming and organizing in the middle of the sixties into a whole, that history calls New Left. Among them, the student union movement is experiencing through the SDS (Student for a Democratic Society) a peak of 100,000 inscribed members, torn within it by two political organizations, one based on Marxist Leninist orthodoxy, strongly tinged with workerism, refusing the contextual analysis of racial tensions and the particular history of the USA, the Worker Student Alliance (WSA). The other, majority in the SDS, the Revolutionary Youth Movement (RYM) wishing to accompany the resistance movements of the Young Lords to the Black Panther Party, opting after the dissolution of the SDS for a strategy of participation in the increase of tensions and confrontations with the power and reactionary America. Thus are formed the Weather Underground in allusion to the words of a Bob Dylan song "You don't need a weatherman to know which way the wind blows", prophetic adhesion to the imminence of a world revolution. While they are not about taking power, it is about accompanying it to its downfall. Its members, numbering 30, exclusively from the white petty bourgeoisie went underground from 1969 relying on a strong network of thousands of sympathizers. They carry out attacks of symbolic significance which never claim victims, and become much more radicalized in their autarky and publish in low circulation, Osawatomie, a newspaper sent mainly to their relays supposed to withdraw and distribute the publication which will know 6 issues in a year before disappearing with the organization.
The complete collection is reproduced in this book, along with the brochure explaining the organizational explosion, the split. Feminism, anti-imperialist struggle, Vietnam, racism and segregation, sexism, workers' struggles, anti-colonialists, anti-prison in addition to the political orientations of the revolutionary movement are all themes addressed.
1985 / 1991, English
Softcover, 142 pages, 18 x 12 cm
1st Edition, Out of print title / used / very good
Published by
Autonomedia / New York
Semiotext(e) / Los Angeles
$35.00 - Out of stock
"A Blake Angel on Bad Acid" — Robert Anton Wilson
"Fascinating..." — William Burroughs
"Who is Hakim Bey? I love him!" — Timothy Leary
First trade paperback edition of T.A.Z.: The Temporary Autonomous Zone, the underground cult bestseller and first book by anarchist writer and poet Hakim Bey (Peter Lamborn Wilson) published in 1991 by Autonomedia. Originally published in 1985 and circulated in the underground via small private and pirate editions, these texts were an inspiration for a generation of troublemakers and idealists. Both celebrated in the punk underground (where the original book has become a seminal text) and denounced in some anarchist circles, the book has proved itself as both influential and relevant to multiple generations of dreamers, agitators, and activists.
Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho-black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults — this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture. This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living.
This book contains the full text of "Chaos: The Broadsheets of Ontological Anarchism", the complete "Communiques of the Association for Ontological Anarchy", and the new long essay "The Temporary Autonomous Zone".
Very Good copy with some light wear.
2021, English
Softcover, 128 pages, 20 x 13 cm
Published by
Critical Editions / US
$19.00 - Out of stock
"The Debordian analysis of modern life resonates more deeply and darkly than perhaps even its creator thought possible..."—The New Yorker
"Never before has Debord's work seemed quite as relevant as it does now"—The Guardian
"Guy Debord is a time bomb, and a difficult one to defuse."—Michael Loewy
First published in 1967, Guy Debord's stinging revolutionary critique of contemporary society, The Society of the Spectacle has since acquired a cult status. The Das Kapital of the 20th century. An essential text, and the main theoretical work of the Situationists. Few works of political and cultural theory have been as enduringly provocative. From its publication amid the social upheavals of the 1960's up to the present, the volatile theses of this book have decisively transformed debates on the shape of modernity, capitalism, and everyday life.
"In Society of the Spectacle, Debord sets out his best-known statement of how the categories of capitalism colonise everyday life to such an extent that we can barely imagine an existence beyond them."—Sydney Review of Books
"The Society of the Spectacle [is] about not just the clamor of images but also the silence of power, a silence which, since the seventies, has become deafening."—McKenzie Wark
"Never before has Debord's work seemed quite as relevant as it does now, in the permanent present that he so accurately foretold? Open his book, read it, be amazed, pour yourself a glass of supermarket wine - as he would wish - and then forget all about it, which is what the Spectacle wants."—Will Self
"In The Society of the Spectacle, Debord made plain that a 'unified critique of culture' implied a critique of the social totality. This was his practico-theoretical method throughout his career as a revolutionary: he saw no distinction between cultural work and political work."—Bruce Russell
Guy Debord (1931-1994) was a Marxist theorist, writer, poet, filmmaker, hypergraphist, cultural revolutionary and a founding member of the Lettrist International and Situationist International - groups that fused avant-garde art and politics as an anti-capitalist weapon. Few works of political and cultural theory have been as enduringly provocative as Debord's Society of the Spectacle, which decisively transformed debates on the shape of modernity, capitalism and contemporary life.
2021, English
Softcover, 240 pages, 11.4 x 17.8 cm
Published by
Semiotext(e) / Los Angeles
$29.00 - Out of stock
How and when American-style slavery created the racial system, not just in the United States but internationally.
We see the hatred we elicit, Islamophobia, Negrophobia; we see police numbers increase, repression spread, mechanisms of control and surveillance strengthened, structures of corruption and cronyism flourish, and bodies of institutionalization, integration, and supervision develop, but we do not see the cause, or one of the causes, which is none other than the threat that we now pose to the white order.
— from The Colonial Counter-Revolution
Just as Capital produced classes and patriarchy produced genders, colonialism produced race. In The Colonial Counter-Revolution, Sadri Khiari outlines how and when American-style slavery created the racial system, not just in the United States but internationally, and why the development of relationships of equality within the white community favored the crystallization of specifically racial social relations. More than just a response to the dialogue, debate, and trauma of immigration today, this book looks beyond the right/left dichotomy of the issue in politics to the more fundamental political existence of immigrants and Blacks, who must exist politically if they are to exist whatsoever. Race is not biological: race is political. And it is the manifestation of the colonial counter-revolution. In France, that counter-revolution started with General de Gaulle, and continues today, where the anti-colonialist fight of Palestinian Arabs and the anti-racist fight of Arabs and blacks in France have the same adversary: white Western domination.
2014, English
Hardcover, 528 pages (350 color and b/w ills.), 17 x 24.5 cm
1st Edition, Out of print title / as new
Published by
Sternberg Press / Berlin
$89.00 $40.00 - Out of stock
Out-of-print, now collectible.
Sweet Sixties Specters and Spirits of a Parallel Avant-Garde Sweet Sixties is a long-term trans-regional research initiative working between art, research, media, and educational contexts in Europe, the Middle East, western and central Asia, Latin America, and northern Africa. Involving a particular group of experimentally oriented arts and research groups as well as individual artists, researchers, and media, Sweet Sixties investigates hidden histories or underexposed cultural junctions and exchange channels in the revolutionary period of the 1960s.
In the 1960s, the landscapes and cities of protectorates and former colonies from India to the Maghreb, from the Soviet Republics to the new states in the southern hemisphere were replete with the spirit and forms of modernity, forms that transmogrify and then dissolve into the thin air of the vernacular. The star maps that are used to survey these artificial worlds often serve to navigate the boundaries between private and public domains. The world full of eerie displacements, gestures of the uncanny, and the constellation of the real exists in a plethora of doubled forms. Question marks and meanderings are all part of this picture. Instruments of communication emerge and are locked away before they have a chance to become immaterial, disappear, and corrode in postmodernity.
The air of the 1960s echoes a spirit of emancipation. And the newly arising art-scapes are interspersed with double agents: diasporas bring their academies; the streams between Soviet, North and South American, Western European, Non-Aligned, etc., are full of interlocutions, hidden pathways, and narratives of trade routes beyond the seemingly stable hegemonies of the blocs.
The stories and spirits of a parallel avant-garde, whose silhouettes have yet to be found on the walls of the Western canon, are the theme of this publication.
As New with some general shelf wear.
2021, English
Softcover, 384 pages, 17 x 24 cm
Published by
Valiz / Amsterdam
$60.00 - In stock -
Effigy hanging and burning, a specific theatrical form of political protest, has become increasingly visible in the news media, particularly in protests against United States military operations in Afghanistan and Iraq, in US domestic politics, and in the Arab Spring. Taking these events as points of departure, Florian Göttke investigates the conditions of this visual genre of protest, its roots and genealogies in a number of countries, its aesthetics, and politics. The book delves deeply into the different practices, iconologies, rituals, protest and media strategies, as well as into politics.
2021, English
Hardcover (w. dust jacket), 224 pages, 21.7 x 14.7 cm
Published by
Verso / London
$36.00 - Out of stock
A leading activist museum director explains why museums are at the center of a political storm and how they can be reimagined.
In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change.
As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence.
In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.
“Culture Strike is a must-read account of how museums have positioned themselves as progressive while working hard to maintain the status quo. Written by someone who knows the ropes and drawing on interviews and conversations from all corners of the art world, it is a road map of how we’ve gotten where we are, a blueprint for change, and a love letter to museums for their potential to change the world if only we would think differently about them.” — Aruna D’souza, author of Whitewalling
1974, English
Newspaper, 28 pages, 41 x 29 cm
1st Edition, Out of print title / used / very good
Published by
Incorporated Newsagencies / West Melbourne
$90.00 $60.00 - Out of stock
Rare February 1974 issue of The Living Daylights, a radical, riotous weekly counter-culture magazine out of North Melbourne in the 1970's, edited by Oz magazine founder Richard Neville, along with Terence Maher, Michael Morris, and graphic designer Laurel Olszewski, and published by Neville's fellow OZ colleague, Richard Walsh, between 1973-4. The Living Daylights was packed with all happening things in youth counter-culture, filled with articles, cartoons, artwork, sex, drugs, rock n roll and protest. A provocative, humorous and controversial anti-establishment bulletin in the tradition of Oz, regularly featuring the artwork of Martin Sharp, Michael Luenig, Dickie, and Neil McLean! This issue features 186 Years of Penal Outrage, activists against the closure of Lameroo "Free Beach" in Darwin, Bondi photography by Syd Shelton, dodgy Adelaide drug squad, Melbourne marijuana activists, Nimbin news, female singers, women's liberation and beauty trends by Margaret Smith, Confessions of a Working Class Shit Eater by poet Eric Beach, Taiwanese actress Angela Mao, Fritz the Cat, and so much more.
A wonderful, very seldom seen, historical piece of Australian counterculture publishing.
Very Good copy with light wear/tanning.
1974, English
Newspaper, 28 pages, 41 x 29 cm
1st Edition, Out of print title / used / very good
Published by
Incorporated Newsagencies / West Melbourne
$90.00 $60.00 - Out of stock
Rare March 1974 issue of The Living Daylights, a radical, riotous weekly counter-culture magazine out of North Melbourne in the 1970's, edited by Oz magazine founder Richard Neville, along with Terence Maher, Michael Morris, and graphic designer Laurel Olszewski, and published by Neville's fellow OZ colleague, Richard Walsh, between 1973-4. The Living Daylights was packed with all happening things in youth counter-culture, filled with articles, cartoons, artwork, sex, drugs, rock n roll and protest. A provocative, humorous and controversial anti-establishment bulletin in the tradition of Oz, regularly featuring the artwork of Martin Sharp, Michael Luenig, Dickie, and Neil McLean! This issue features Ian Stocks in conversation with science fiction legend Arthur C. Clarke, a guide to smuggling, Allen Ginsberg on cocaine and Abbie Hoffman, Heroin, Pentridge prison, Magic Mushrooms, police brutality against black Australians, Cherry Ripe on the pioneering drag queen anarchy of Sylvia and the Synthetics, meditation, Veronica Perry on the ecology of Shit, the Bitch newspaper, Miles Davis, and so much more.
A wonderful, very seldom seen, historical piece of Australian counterculture publishing.
Very Good copy with light wear/tanning.
1973, English
Newspaper, 24 pages, 43 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Cosmos Periodicals / Cremorne
$60.00 - Out of stock
Scarce inaugural issue (June 1973) of Cosmos, The Living Paper, published in Cremorne, Victoria in the 1970s and edited by leading Australian occultist Nevill Drury with Peter Glasson. A magazine dedicated to "the other side" of the counter-culture, "seeking to change society, not by forcibly ramming its ideas into unwilling minds, but by peacefully stressing the need for change in each and every individual as a prescription to the world's ills". Each issue is packed with articles and artwork around subjects such as cosmic music, occultism, ecology, astrology, organic gardening, alternative living, sexuality, theosophy, the arts, literature, politics, and awakened, back-to-the-earth Australia. A wonderful historical piece of Australian counterculture publishing. "From Soil to Psyche."
Good copy with fold and edge wear, tanning (which looks worse in our images than in person).
1973, English
Newspaper, 24 pages, 43 x 30 cm
1st Edition, Out of print title / used / good
Published by
Cosmos Periodicals / Cremorne
$60.00 - Out of stock
Scarce second issue (August 1973) of Cosmos, The Living Paper, published in Cremorne, Victoria in the 1970s and edited by leading Australian occultist Nevill Drury with Peter Glasson. A magazine dedicated to "the other side" of the counter-culture, "seeking to change society, not by forcibly ramming its ideas into unwilling minds, but by peacefully stressing the need for change in each and every individual as a prescription to the world's ills". Each issue is packed with articles and artwork around subjects such as cosmic music, occultism, ecology, astrology, organic gardening, alternative living, sexuality, theosophy, the arts, literature, politics, and awakened, back-to-the-earth Australia. A wonderful historical piece of Australian counterculture publishing. "From Soil to Psyche."
Good copy with fold and edge wear, tanning (which looks worse in our images than in person).
1974, English
Newspaper, 16 pages, 43 x 30 cm
1st Edition, Out of print title / used / good
Published by
Cosmos Periodicals / Cremorne
$50.00 - Out of stock
Scarce April 1974 issue of Cosmos, The Living Paper, published in Cremorne, Victoria in the 1970s and edited by leading Australian occultist Nevill Drury with Peter Glasson. A magazine dedicated to "the other side" of the counter-culture, "seeking to change society, not by forcibly ramming its ideas into unwilling minds, but by peacefully stressing the need for change in each and every individual as a prescription to the world's ills". Each issue is packed with articles and artwork around subjects such as cosmic music, occultism, ecology, astrology, organic gardening, alternative living, sexuality, theosophy, the arts, literature, politics, and awakened, back-to-the-earth Australia. A wonderful historical piece of Australian counterculture publishing. "From Soil to Psyche."
Good copy with fold and edge wear, tanning (which looks worse in our images than in person).
1977, English
Newspaper, 20 pages, 43 x 30 cm
1st Edition, Out of print title / used / good
Published by
Cosmos Periodicals / Cremorne
$60.00 - Out of stock
Scarce August 1977 issue of Cosmos, The Living Paper, published in Cremorne, Victoria in the 1970s and edited by leading Australian occultist Nevill Drury with Peter Glasson. A magazine dedicated to "the other side" of the counter-culture, "seeking to change society, not by forcibly ramming its ideas into unwilling minds, but by peacefully stressing the need for change in each and every individual as a prescription to the world's ills". Each issue is packed with articles and artwork around subjects such as cosmic music, occultism, ecology, astrology, organic gardening, alternative living, sexuality, theosophy, the arts, literature, politics, and awakened, back-to-the-earth Australia. A wonderful historical piece of Australian counterculture publishing. Includes cover feature on Christiania, the intentional 'Free Town' commune in Copenhagen, Australian ancient indigenous art, and animal liberation, and much more! "From Soil to Psyche."
Good copy with fold and edge wear, tanning (which looks worse in our images than in person).
2021, English
Hardcover, 616 pages, 21 x 29 cm
Published by
Sternberg Press / Berlin
$90.00 - Out of stock
During the Cold War, modernist art became a flagship of freedom and democracy in the West, and took on the role of a symbolic overcoming of fascism. Parapolitics: Cultural Freedom and the Cold War examines the cultural diplomacy of this period, particularly the activities and magazines of the Congress for Cultural Freedom, an organization funded by the Central Intelligence Agency that was tasked with steering the left away from Soviet Communism and toward a new world order established under the aegis of the United States. This book analyzes how the organization’s activities in the non-European world were a major force behind the culturalization of economic liberalism on an international scale. With extensive archival documentation and recent responses by artists and writers, this book is a rich reference for readers interested in challenging the structural conditions of contemporary art and the prevailing canons of modernism.
Edited by Anselm Franke, Nida Ghouse, Paz Guevara, Antonia Majaca
Contributions By Savita Apte, Doug Ashford, Michael Baers, Ivana Bago, Lene Berg, Annett Busch, Rhea Dall, Peter Delius, Kodwo Eshun, Jenifer Evans, Anselm Franke, Andrea Giunta, Nida Ghouse, Paz Guevara, Stacy Hardy, Barnor Hesse, Michael Hochgeschwender, Emmanuel Iduma, Iman Issa, Voluspa Jarpa, Gabi Ngcobo, Alexander Keefe, Hyunjin Kim, Christian Kravagna, Antonia Majaca, Porter Mccray, Sylvester Ogbechie, Rasha Salti, Erhard Schüttpelz, Chinmay Sharma, Yashas Shetty, Quinn Slobodian, Karin Zitzewitz
2021, English
Softcover, 456 pages, 21.6 x 14 cm
Published by
University of Minnesota Press / Minnesota
$89.00 - Out of stock
A groundbreaking collection of writings by Michel Foucault and the Prisons Information Group documenting their efforts to expose France's inhumane treatment of prisoners.
Authors: Michel Foucault and Prisons Information Group
Edited by Kevin Thompson and Perry Zurn
Translated by Perry Zurn and Erik Beranek
Founded by Michel Foucault and others in 1970–71, the Prisons Information Group (GIP) circulated information about the inhumane conditions within the French prison system. Intolerable makes available for the first time in English a fully annotated compilation of materials produced by the GIP during its brief but influential existence, including an exclusive new interview with GIP member Hélène Cixous and writings by Gilles Deleuze and Jean Genet.
These archival documents — public announcements, manifestos, reports, pamphlets, interventions, press conference statements, interviews, and round table discussions — trace the GIP's establishment in post-1968 political turmoil, the new models of social activism it pioneered, the prison revolts it supported across France, and the retrospective assessments that followed its denouement. At the same time, Intolerable offers a rich, concrete exploration of Foucault's concept of resistance, providing a new understanding of the arc of his intellectual development and the genesis of his most influential book, Discipline and Punish.
Presenting the account of France's most vibrant prison resistance movement in its own words and on its own terms, this significant and relevant collection also connects the approach and activities of the GIP to radical prison resistance movements today.
2020, English
Softcover, 34 pages, 10.6 x 15.5 cm
Published by
Pattern Books / UK
$12.00 - In stock -
He-Yin Zhen was an early 20th century Chinese feminist and anarchist. Born He Ban in Yizheng, Jiangsu, she married the noted scholar Liu Shipei in 1903 and went with him to Tokyo. She then took the name He Zhen but signed her published writings He-Yin Zhen in order to include her mother's maiden name. She published a number of strong attacks in anarchist journals on male social power which argued that society could not be free without the liberation of women. Her essay "On The Question Of Women's Liberation," which appeared in Tianyi in 1907, opens by declaring that "for thousands of years, the world has been dominated by the rule of man. This rule is marked by class distinctions over which men—and men only—exert proprietary rights. To rectify the wrongs, we must first abolish the rule of men and introduce equality among human beings, which means that the world must belong equally to men and women. The goal of equality cannot be achieved except through women's liberation." "On Feminist Antimilitarism", which was originally published in 1907, He Zhen addresses the importance of women protesting against militarism. "The Feminist Manifesto", which was also published in 1907, He Zhen Zhen tackles the institution of marriage as a route source of the inequalities between man and woman.
This is a copyright-free Radical Re-print pocket book.
2021, English
Softcover, 160 pages, 14 x 21.6 cm
Published by
Divided Publishing / London
$34.00 - In stock -
Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Her political communiqués, essays, poems, lectures and one-on-one care reports span a decade of artistic and activist practice. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion. Having grown up in Athens, Sagri’s intuition upon moving to New York was that being in public without consuming is the biggest threat to those in control. And hearing the voices of others beyond what is a given generates this threat to capitalism. The writing is a mode of recovery, it is pre-content shared to encourage open processes not institutions.
1984, English
Softcover, 120 pages, 26 x 18 cm
Out of print title / used / very good
Published by
International General / New York
$90.00 - In stock -
Scarce copy of the second (expanded and enlarged) 1984 English-language edition of "How to Read Donald Duck", first published in 1975.
“A literary grandmaster.” ―Time
"A Hand-book of De-Colonisation" — John Berger
First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves.
Written and published during the blossoming of Salvador Allende's revolutionary socialism, the book examines how Disney comics not only reflect capitalist ideology, but are active agents working in this ideology's favour. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalised and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World. Disney recognized the challenge and, when the book was translated and imported into the United States in 1975, managed to have all 4,000 copies impounded. Ultimately, 1,500 copies of the book were allowed into the country, the rest of the shipment was blocked, and until now no American publisher has re-released the book, which has sold over 1 million copies worldwide.
A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman.
Translated by art historian David Kunzle.
Very Good copy. Some pinching (not splitting) to spine edge, previous owner's signature to first page, otherwise beautifully preserved, crisp copy.