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.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / average
Published by
SST Publications / Lawndale
$400.00 - In stock -
Rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "Exterminating The Eagles" reproduces twenty-eight psychologically-charged, graphic fables for which Pettibon is famed.
Hand-numbered by Pettibon in red ink #120 of 500.
In Exterminating the Eagles, Raymond Pettibon tackles race, violence and inner city crime using his spare, expressive ink drawings. Subjects include a White Power shop owner, a sourpuss grandmother, Nancy Reagan and Hitler. Pettibon notes, “Unauthorized duplication is unAmerican, i.e., unprofitable.”
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy, wear around the edges, especially the spine, still holding together but with some splitting. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
SST Publications / Lawndale
$440.00 - In stock -
Very rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "The Express Sex Train" reproduces twenty-eight psychologically-charged drawings.
Hand-numbered by Pettibon in red ink #426 of 500.
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy with wear around the edges, still with solid binding. General toning/marking/wear from age. Preserved in archival mylar with backing board.
1985, English
Softcover (staple-bound), 28 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
SST Publications / Lawndale
$400.00 - In stock -
Very rare early Raymond Pettibon zine from 1985 for SST Publications, Lawdale, California. "Limited to five hundred copies (of which some four hundred were destroyed)", "The Express Sex Train" reproduces twenty-eight psychologically-charged, graphic fables for which Pettibon is famed.
Hand-numbered by Pettibon in red ink #88 of 500.
The plaintive cover image of Pig Cupid is captioned “Why do I dream of undertow when I don’t even know what it is?” This zine, by punk artist Raymond Pettibon, deals with violent love and toxic relationships. Many of the women within have been violated, deserted, shot, bought or sold, but Pettibon’s fluid line drawings capture the inexplicable pull of desire, even against a woman’s better judgement. Cupid, argues Pettibon, is a pig.
Known for his poetic and anarchic collisions of "high" and "low" cultural forms, Raymond Pettibon first came to prominence during the late-1970s with his raw, literary-inflected imagery making zines published by his brother's record label SST Publications, fliers, and other ephemera within the SoCal punk scene, for Black Flag, Sonic Youth, The Minutemen... "His work became identified with a brash and iconoclastic visual style that would influence and speak for an entire generation of disaffected youth … He stands alongside a generation of Los Angeles artists who have tackled the dissolution of American idealism head-on using fragments of its own visual culture." Over the subsequent decades, the erstwhile Southern California artist has deservedly become an international contemporary art icon.
Guaranteed authentic example of this uncommon, early Pettibon tour de force (entry number twenty-two in Uwe Koch and Roberto Ohrt's "A Catalogue Raisonné of Artists' Books by Raymond Pettibon, 1978-98").
Good copy with wear around the edges, still with solid binding. General toning/marking/wear from age. Preserved in archival mylar with backing board.
2006, Englih
Hardcover, 128 pages, 43.5 x 28.5 cm
1st Edition, Out of print title / used / very good
Published by
PictureBox / Brooklyn
$160.00 - Out of stock
Rare first (only) hardcover edition of Brian Chippendale's Ninja, his first book, published by PictureBox Inc.
Both an epic 80-page graphic novel and a document of his vibrant drawings, collages and posters, Ninja is the first book by Fort Thunder co-founder and Lighting Bolt drummer Brian Chippendale. The graphic novel, a work 5 years in the making, takes readers through a fantastic landscape delineated in Chippendale’s dense pen and ink line-work and starring a Ninja hunted by the forces of evil. It functions as both a great fantasy story and a social allegory about an artist’s struggle with money, gentrification, and city politics. Nearly every massive comics page is drawn in a different elaborate style somewhere between Darger, Panter & illuminated manuscript. In between each chapter of the story is a related section of fine art: from bright, exuberant paintings to visionary drawings to the posters for which Chippendale is internationally recognized. Half art book, half graphic novel, this collection is a unique adventure in art and comics.
Good—Very Good copy, bright well-bound copy with some light wear to extremities/scuffing to covers.
1984, Lithuanian / Russian / English / French / German
Hardcover (w. dust jacket), 310 pages, 33 x 25 cm
1st Edition, Out of print title / used / very good
Published by
Vaga / Vilnius
$100.00 - Out of stock
First 1984 edition of this wonderful, comprehensive monograph published by Leidykla Vaga in Vilnius on the work of fin de siècle composer, artist and writer Mikalojus Konstantinas Čiurlionis. Profusely illustrated with Čiurlionis' visionary musical landscape paintings, with accompanying texts by Antanas Gedminas, Jonas Kuzminskis and Pranas Gudynas in Lithuanian, Russian, English, French and German.
Mikalojus Konstantinas Čiurlionis (1875 – 1911) was a Lithuanian composer, painter and writer in Polish. Čiurlionis contributed to symbolism and art nouveau, and was representative of the fin de siècle epoch. He has been considered one of the pioneers of abstract art in Europe. During his short life, he composed about 400 pieces of music and created about 300 paintings, as well as many literary works and poems. His works have had a profound influence on modern Lithuanian culture. His pictures often have a philosophical background. The influence of music on painting is striking: Čiurlionis created several cycles of paintings, which he called "sonatas" and whose individual pictures he titled "allegro", "andante" and the like. The individual images are based on the character of the respective musical performance instructions: an Andante, for example, conveys a rather calm atmosphere. Some paintings even bear the title "Fuge". This synthesis of music and painting is unique in terms of art history.
Very Good copy in VG dust jacket.
2021, English
Softcover, 496 pages, 20.2 x 15 cm
1st Edition, Out of print title / as new
Published by
Blank Forms / New York
$110.00 - In stock -
Archival documents and new writings on the intermedia collaborations of avant-garde jazz trumpeter Don Cherry and textile artist Moki Cherry.
Edited by Lawrence Kumpf with Naima Karlsson and Magnus Nygren. Introduction by Lawrence Kumpf and Magnus Nygren. Text by Keith Knox, Rita Knox, Bengt af Klintberg, Iris R. Orton, Åke Holmquist, Pandit Pran Nath, John Esam, Michael Lindfield, Sidsel Paaske, George Trolin, Alan Halkyard, Moki Cherry, Don Cherry, Ben Young, Christer Bothén, Ruba Katrib, and Fumi Okiji. Interviews by Keith Knox and Rita Knox with Don Cherry, Terry Riley, and Steve Roney.
Avant-garde jazz trumpeter Don Cherry and textile artist Moki Cherry (née Karlsson) met in Sweden in the late sixties. They began to live and perform together, dubbing their mix of communal art, social and environmentalist activism, children’s education, and pan-ethnic expression “Organic Music.” Organic Music Societies, Blank Forms’ sixth anthology, is a special issue released in conjunction with an exhibition of the same name devoted to the couple’s multimedia collaborations. The first English-language publication on either figure, the book highlights models for collectivism and pedagogy deployed in the Cherrys’ interpersonal and artistic work through the presentation of archival documents alongside newly translated and commissioned writings by musicians, scholars, and artists alike.
Beginning with an overview by Blank Forms Artistic Director Lawrence Kumpf and Don Cherry biographer Magnus Nygren, this volume further explores Don’s work of the period through a piece on his Relativity Suite by Ben Young and an essay on the diasporic quality of his music by Fumi Okiji. Ruba Katrib emphasizes the domestic element of Moki’s practice in a biographical survey accompanied by full-color reproductions of Moki’s vivid tapestries, paintings, and sculptures, which were used as performance environments by Don’s ensembles during the Sweden years and beyond. Two selections of Moki’s unpublished writings—consisting of autobiography, observations, illustrations, and diary entries, as well as poetry and aphorisms—are framed by tributes from her daughter Neneh Cherry and granddaughter Naima Karlsson. Swedish Cherry collaborator Christer Bothén contributes period travelogues from Morocco, Mali, and New York, providing insight into the cross-cultural communication that would soon come to be called “world music.”
The collection also features several previously unpublished interviews with Don, conducted by Christopher R. Brewster and Keith Knox. A regular visitor to the Cherry schoolhouse in rural Sweden, Knox documented the family’s magnetic milieu in his until-now unpublished Tågarp Publication. Reproduced here in its entirety, the journal includes an interview with Terry Riley, an essay on Pandit Pran Nath, and reports on counter-cultural education programs in Stockholm, including the Bombay Free School and the esoteric Forest University.
Taken together, the texts, artwork, and abundant photographs collected in Organic Music Societies shine a long overdue spotlight on Don and Moki’s prescient and collaborative experiments in the art of living.
As New copy, out-of-print.
2025, English
Softcover, 640 pages, 24 x 16.99 cm
Published by
Intellect Ltd / US
$110.00 - Out of stock
Industrial music has long been recognized for its sonic innovations, but the radical visual culture that accompanied this underground movement has remained largely unexplored. Shock Factory: The Visual Culture of Industrial Music presents the first comprehensive examination of how industrial artists created a coherent aesthetic language across multiple media—from xerox art and mail art to installation and performance—fundamentally challenging modernist utopias while prophetically anticipating contemporary discourse about media manipulation and technological control.
Emerging in mid-1970s Britain from the post-punk underground before expanding globally throughout the 1980s, artists like Throbbing Gristle, Cabaret Voltaire, SPK, Test Dept, Laibach, Einstürzende Neubauten, Nurse With Wound, Current 93, Coil, Psychic TV, Boyd Rice, Whitehouse, Merzbow, Hijokaidan, Hunting Lodge, Controlled Bleeding, Hafler Trio, Z'EV, Nocturnal Emissions, 23 Skidoo, Clock DVA, Master/Slave Relationship, and Monte Cazazza developed sophisticated visual strategies that matched their abrasive soundscapes with equally confrontational imagery.
At 640 pages, this award-winning monograph reveals how industrial artists systematically appropriated reprographic techniques—particularly xerox art and photocollage—to create disturbing visual narratives investigating mind control, criminality, occultism, pornography, psychiatry, and totalitarianism. Through détournement strategies borrowed from Situationist theory, they exposed the coercive mechanisms of mass media and technological society, creating a visual vocabulary that challenged viewers to confront uncomfortable truths about modern power structures. What emerges is a movement that perceptively anticipated contemporary concerns about surveillance, media manipulation, and collective psychological control. Industrial artists' exploration of these themes through deliberately provocative imagery served not as mere provocation but as sophisticated critique of the very media systems they inhabited. Their radical aesthetic choices—degraded reproduction quality, found imagery manipulation, shock tactics—created hybrid forms that defied traditional categorization while establishing independent networks that bypassed conventional art world structures.
Shock Factory positions industrial music's visual culture within broader art historical narratives, revealing connections to Dada, Surrealism, and conceptual art while demonstrating the movement's unique contributions to contemporary visual culture. The book arrives at a moment when questions about technology, media manipulation, and social control have never been more urgent, demonstrating how these artists' radical visual strategies continue to offer valuable insights for our digital age.
For scholars of contemporary art, music history, and media studies, this book provides essential documentation of an overlooked movement that significantly influenced subsequent artistic developments. For readers interested in underground culture and avant-garde aesthetics, Shock Factory reveals the sophisticated visual thinking that accompanied one of the most innovative musical movements of the past half-century.
"A history of industrial music needed to be written. Nicolas Ballet has accomplished this. Thoroughly. This is the book's greatest strength. It explores the significance of noise as a reflection of a world in decay and screaming as a need. And doing it so it reveals a significant connection between industrial music and contemporary art. This is also what makes it an essential book: its contribution to dismantling categories and rethinking history from mixed creative territories."—David G. Torres
Nicolas Ballet is an art historian and assistant curator at the Centre Pompidou in the New Media Department. He is the author of books and articles exploring the visual and sonic contributions of countercultures and experimental artistic practices.
1993, English
Softcover, 184 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
Routledge / London
$40.00 - In stock -
First 1993 edition.
This ground-breaking work offers a challenging and positive view of postmodern culture. It draws on the author's extensive interviews with a number of leading postmodern artists, writers and performers, including: Jean Baudrillard Samuel Beckett John Cage Phillip Glass The Parameters of Postmodernism focuses on both the prevailing negative theories of postmodernism, and the more positive aspects of postmodern theory and practice. The negative aspect is exemplified by the work of writers like Brecht, Beckett, Barthes and Baudrillard, who emphasise the death of artistic innovation and the lack of a permanent reality. Zurbrugg highlights the contradictions in the arguments of these writers, and examines the later works in which they qualify their earlier, more infamous, statements. The positive aspect is characterised by artists such as Cage, Glass and Monk - who interweave the new postmodern media with confidence and invention, and Eco, Grass and Wolf - who revive mythological and folkloric traditions. The Parameters of Postmodernism argues that in each case - high-tech or revivalist - postmodern creativity culminates in a highly positive synthesis of past, present and futuristic materials.
VG copy.
1991—1997, English
Softcover (staple-bound), 70 pages ea. approx x 9 issues, 27 x 21 cm
1st Edition, Out of print title / used / good
Published by
Musicworks / Toronto
$100.00 - In stock -
Lot of 9 issues (1991—1997) of Musicworks, The Journal of Sound Exploration, published out of Toronto. Launched in January 1978 by Andrew Timar and John Oswald, best known for his plunderphonics, Musicworks was a long-running Canadian avant-garde music magazine devoted to experimental, improvised and Electroacoustic music. These issues together feature an abundance of exclusive interviews, essays, reviews, theoretical texts, scores, colloquies, artworks, features on and by Stan Brakhage, Chris Cutler, John Cage, Tibor Szemző, Pauline Oliveros, Trevor Wishart, Carolee Schneemann, Josef Režný, Jerry Hunt, Kazue Sawai, Glenn Branca, Yūji Takahashi, Tim Hodgkinson, Louis Andriessen, Glenn Gould, Harry Partch, Akio Suzuki, Fergus Kelly, Petr Kotik, Nicholas Gebhardt, Barbara Benary, Andrew Culver, Udo Kasemets, Franz Van Rossum, R.I.P. Hayman, Iva Bittová, Nobuo Kubota, David Rokeby, François Girard, J.S. Bach, Jocelyn Robert, Don Ritter, Glenn Gould, Paul Rapoport, and many more. Scarce and incredible resource for improvised and avant-garde compositional music/performance/video histories from this publisher and cassette label.
Good copy with with general light magazine wear.
1990, English
Softcover, 362 pages, 21.6 x 24 cm
Reprint,
Out of print title / used / good
Published by
Feral House / Los Angeles
$45.00 - In stock -
"Apocalypse Culture is compulsory reading for all those concerned with the crisis of our times. An extraordinary collection unlike anything I have ever encountered. These are the terminal documents of the twentieth century."—J.G. Ballard
Two thousand years have passed since the death of Christ and the world is going mad. Nihilist prophets, born-again pornographers, transcendental schizophrenics and just plain folks are united in their belief in an imminent global catastrophe. What are the forces lurking behind this mass delirium?
APOCALYPSE CULTURE is a startling, absorbing and exhaustive tour through the nether regions of today’s psychotic brainscape.
First published in 1987, APOCALYPSE CULTURE immediately touched a nerve. Alternately excoriated and lauded as “epochal”, “the most important book of the decade,” APOCALYPSE CULTURE had begun to articulate what many inwardly sensed — the-fear inspired irrationalism and faith, the clash of irreconcilable forces, and the ever-looming specter of fin de race. In its present incarnation for Feral House, APOCALYPSE CULTURE has significantly increased in size, taking on new perspectives on our current crisis, with pertinent revisions of many articles from the original edition.—burb from this expanded and revised 1990 edition.
As New.
2025, English
Softcover, 384 pages, 23 x 15.24 cm
Published by
Park Street Press / Vermont
$48.00 - In stock -
An unusual collection of writing by and about mystic artist Harry Smith. Explores in depth the occult and mystical side of Smith—his “heaven and earth magic”—focusing on how his varied artistic efforts were part of a comprehensive magical and alchemical practice. Includes unpublished photos of and letters from Smith, rare interviews, one of his unpublished texts, and essays by scholars and friends.
Harry Smith (1923–1991) was a legendary twentieth-century artist, filmmaker, painter, anthropologist, ethnomusicologist, and archivist. Especially well known for his Anthology of American Folk Music, innovative abstract realms, and extraordinary collection of paper airplanes now housed at the Getty Research Institute, Smith also had a deep esoteric and mystical side, with experimentation in magic, Tarot, Kabbalah, and other occult practices. Like other alchemists, Smith’s life mission was to create a unified work from disparate elements, a synthesis of correspondences between seemingly unrelated topics—from music, string figures, and Seminole patterns to the relationship between sound and film imagery.
Presenting the most diverse collection of writings about Harry Smith, this volume explores the far-ranging esoteric themes that run throughout his art and career. The book includes never-before-seen photos, rare interviews, personal letters, and an unpublished text by Harry Smith, The 96 Apparitions of the 96 Alchemical Formulae (1 to 36), as well as personal reminiscences from Smith’s friends and former students. Smith’s groundbreaking mystical wisdom, "heaven and earth magic," and influence as an artist of the extremes leap from the pages in this book, confirming his contribution to art, music, film, and modern alchemy.
“Alchemist, magician, filmmaker, artist, mystic, anthropologist, collector, rebel, eternal omnivore, and 20th-century Renaissance man, Harry Smith was many things to many people, and this outstanding collection of lovingly written testimonies pays tribute to Harry with wit, respect, love, and laser-like precision. It is absolutely impossible to forget any interaction you had with Harry—and the beautiful tales in this remarkably readable and heartfelt book will have you awestruck, laughing out loud, and hungry for more. Perhaps the best collection of writings about one of the most enigmatic and fascinating figures the world has ever known.” ― John Zorn, American composer
“The Occult Harry Smith explores so many fascinating aspects of Harry Smith that have yet to be explored! Through a panoply of voices gathered in this volume, we get firsthand accounts and informed explorations that delve deep into the magician and trickster Harry Smith. Essential reading for anyone who wants to know more about this enigmatic and influential figure who lived his life on the edge and for his art.” ― Rani Singh, director of the Harry Smith Archives
“Through his alchemical metaphors and deep appreciation for cultural diversity, Smith’s work continues to influence new generations eager to learn more about his gentle blurring of the boundaries between art and magic. The Occult Harry Smith is a highly inspiring anthology and an invaluable glimpse into the timeless cosmic prism that was the mind of this polymath magus.” ― Carl Abrahamsson, author of Meetings with Remarkable Magicians and Occulture
“The world is blessed unknown when a Harry Smith enters it, and we are fortunate that enough individuals notice, to record his presence among them. One can only gain—and gain much—from reading this prismatic collection of fascinating views on the polymathic shaman of the city. Smith: all profit with no risk, other than the effect of enlightenment, a mere byproduct of gazing at his mighty works.”―Tobias Churton, author of Aleister Crowley in England, Aleister Crowley in Paris, and Aleister Crowley...
“This invaluable collection comes at the right time, as interest in Harry Smith’s life expands and his manifold work reaches new and ever-growing audiences. Offered up by the people who knew him best, this volume provides new and nuanced perspectives on Harry Smith: the man, the polymath, the sage."―John Klacsmann, archivist at Anthology Film Archives
“The Occult Harry Smith is a long overdue deep dive into this particular aspect of a wonderful, remarkable, and insufferable genius and polymath. In addition, by bringing together the memories and observations of an impressive, indeed close-to-definitive, collection of acolytes, scholars, and friends (not to mention photographic treasures and unpublished texts), Peter Valente presents an unexpected delight in this wide-ranging compendium—endlessly illuminating (as was Harry)—a posthumous banquet.”―Simon Pettet, poet and author of Hearth, As A Bee, and More Winnowed Fragments
About the Author
Harry Smith (1923-1991) was a filmmaker, painter, anthropologist, alchemist, and artist of the twentieth century.
Peter Valente is a writer, editor, translator, and filmmaker. He was born in Salerno, Italy, in 1970 and grew up in New Jersey. The author of 12 books and the translator of several influential works, including Gérard de Nerval’s The Illuminated, he lives in North Carolina.
1979, Japanese
Softcover, 240 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare "Special Stock" compendium book by the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This special three issue collection combines Vol. 4 "Fantasy" + Vol. 6 "Eros" + Vol. 7 "Avant-Garde". Says it all really. Incredible in-depth, encyclopaedic features on Derek Bailey (full biography and discograohy), British avant-garde/free music/jazz/avant-rock/R.I.O./Canterbury (Bailey, Henry Cow, Daevid Allen/Gong, Lol Coxhill, Soft Machine, Company, Slapp Happy, Keith Tippett, National Health, Evan Parker, Art Bears, King Crimson, Hatfield and The North, Kew Rhone, National Health, Robert Wyatt, Spontaneous Music Ensemble, Incus Records, Ogun Records, etc.), R.I.O. expanded (Univers Zero, Art Zoyd, ZNR, The Residents, Albert Marcoeur, Stormy Six, Etron Fou Leloublan, Samla Mammas Manna, etc.), plus features and articles on Robert Fripp, Atoll, Annette Peacock, Italian Prog, Gloria Mundi, Peter Hammill, Ashra, Brian Eno, Tony Banks, Van Der Graaf, Genesis, Vangelis, Peter Gabriel, New Spanish Rock, and much more. Highly recommended to any fan of such things.
Very Good copy.
1988, Japanese
Softcover, 88 pages, 26 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
NEWSWAVE / Tokyo
$40.00 - In stock -
Rare copy of NEWSWAVE, a great post-punk/avant-rock/synth-pop fanzine from Tokyo in the 1980s, very seldom seen. This issue, volume 16 from 1988, includes a huge cover story on Patti Smith, A.R. Kane, Coil, Felt, Les Nouvelles Propagandes (French industrial/ambient label), Test Dept., Crime & The City Solution, The Pogues, David Bowie, the ZTT label (Paul Morley's label with Trevor Horn and Jill Sinclair — home of Art of Noise, Grace Jones...), plus abundant illustrated reviews and ads, all features packed with chronology and discography information, release artwork, graphics and photographs.
Very Good copy, very light wear.
LP Album, 2025
Ed. of 230
Published by
Hakkı / US
$50.00 - In stock -
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1985, English
Softcover (staple-bound), 96 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
S.C.A.S.A. / Glebe
$100.00 - In stock -
Seldom seen copy of Sydney's "Fade To Black: A Collection", published by Sydney College of the Arts Film Group, edited by Stephen Cummins, Toula Anastas, Peter Handsaker, Gretta Kool and Mary Temelovski, with cover featuring stills from editor Steve Cummins' 1984 student film "Breathbeat". Stephen Cummins (1960-1994) was an Australian filmmaker, photographer and curator who left an indelible mark on the independent queer film scene.
With bold, high-contrast b/w art direction by Gretta Kool and Mary Temelovski throughout, the magazine opens with imagery from Catherine Lowing's 1985 film about the Sydney Lesbian S&M scene, "Knife in the Head, Spooky", followed by notes and quotes on film from Straub, Landow, Eisenstein, Barthes, Hitchcock, Godard, Fellini, Lesley Stern, Adrian Martin, and many more, before the feature contents (interviews, essays, reviews, artist pages, etc), as follows: "Framing the Film Still" Ross Gibson, "All the Glitters" Robyn Outram, "Transported" - Virginia Hillyard, "Mojave Moon" - Renee Romeril, "Roadscript" - Andrew Martin, "To Render the Body Ecstatic" - Anna Rodrigo interviews Laleen Jayamanne, "Doppelganger in Blue" - Steve Cummins, "Carmen" Louise Burchill, "Where None" - Toula Anastas, "Between Kitsch and Fascism" - Interview with Dieter Schidor, "Kanahooka Day Trip" - Kate Richards, "On Movement" - an essay in screenstudy - Chris Tuckfield, "Vluku Vlk" - Ken Heyes, "Hot Minutes" - Andrew Donaldson, "Lost in Space" - Ross Harley, "The Super 8 Film Group - More than Informative" - Michael Hutak, "And the Winner is ..." Anne Zahalka, "Psychotherapy and the Cinema" - Ben Crawford, "Little Hans Rides Again (a film still)" - Kurt Brereton, "Broken Mirrors Feminist Horror" - Ruby Davies, "Why have there been no great women ventriloquists - or what are they talking about" - Shan Short, "Imitation of Life" - Mark Titmarsh, "Sorry Wong Number" - Claudia Shaw, "Two Scenes from an untitled film" Ken Orchard, "Pieces of Freedom" - Melissa Smith, "Frameup" - Karen Borger, "Android" - Rosemary Johnson, "Staring at Helene and Pete" - Debra Thorsen, "What Price Culture" - Paola Talbert. A wonderful time-capsule of the film arts and film criticism in mid-80's Oz.
Good-Very Good copy with minor spine pinches and rubbing to black card covers.
2000, English
Bagged set of 19 booklets, softcover (staple-bound), 4-56 pages each, 21 x 15 cm
1st Edition, Out of print title / as new
Published by
Den Frie Udstillings Bygning Oslo Plods / Denmark
$150.00 - In stock -
FLOOR BAG, bagged complete set of 18 artist booklets/catalogues published as part of FLOOR SHOW, an Australian / Danish exhibition curated and organized by John Nixon & Ivor Tønsberg, May 13th — June 4th 2000, with Den Frie Udstillings Bygning Oslo Plods, Denmark. Each booklet is edited exclusively by the represented artist. This bagged set includes all 18 booklets, plus additional cover-hand-stamped text booklet, including exhibition text by Nixon and Tønsberg, along with biographies of all artists involved. All artists included : Stephen Bram, Tine Borg, Vicente Butron, A.D.S. Donaldson, Jørgen Fog, Leonard Forslund, Marco Fusinato, Signe Guttormsen, Kent Hansen, Peter Holm, Henrik Jørgensen, Torben Kapper, Stephen Little, Anne-Marie May, John Nixon, Rose Nolan, Ivar Tønsberg, Gary Wilson.
Only one copy available.
About Floor Show
It must have been a great show; the one Vincent van Gogh and Paul Gaugin had in the first version of The Fri in 1893. The style of that house and the style of their paintings must have suited each other just right. And that's the problem nowadays -when you are exhibiting in The Fri, you are dealing with spatial conditions that - even though the present house is a later version than the one Van Gogh and Gaugin used - are related not to our time but to the late 19th century. Those were the days of golden frames and lots of different pictures hanging close to one another. It was long before pop, minimalism and conceptual art, and it didn't matter whether the paintings were hung directly on nails or in strings from the ceiling, as they do in The Fri, which is one charismatic exhibition building in the city of Copenhagen, but unfortunately also a most impossible one.
In a strictly formal manner Floor Show is, so to speak, tailor made for The Fri. The majority of the artists included in the exhibition are painters, but - due to the spatial circumstances of the exhibition house - the organizers gave them the task to exhibit only on the floor in The Fri. The walls were not to be used, and the relatively few works (approximately one per Artist) were to be shown in a manner not too close to the installation genre.
What you might extract from Floor Show is, when working with painting you can't take the wall for granted as the only site for display. On the floor the works of the contributing artists explores a range of different media indicating the diversity of their practice and its relation to painting.
With Floor Show, the artists have radicalised the space and the organisers intentions have been realized.
— John Nixon & Ivor Tonsberg
1981, English
Softcover, 188 pages, 21 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Art Gallery of New South Wales / Sydney
$65.00 - In stock -
Scarce catalogue published to accompany Australian Perspecta '81, the first biennale review of recent Australian art that focuses on more experimental expression as an alternative to the Sydney Biennale, showcasing the work of 65 artists. Micky Allan, Tom Arthur, Davida Allen, David Aspden, Suzanne Archer, Vivienne Binns, Howard Arkley, Tony Bishop, Brian Blanchflower, Gunter Christmann, Peter Booth, Giorgio Colombo, Anna Paci, Mike Brown, Peter Corrigan, Edmond & Corrigan, Peter Callas, Virginia Coventry, Marleen Creaser, Bonita Ely, Sue Ford, John Davis, Rosalie Gascoigne, Lesley Dumbrell, Elizabeth Gower, Richard Dunn, Denise Green, Ivan Durrant, Marr Grounds, Fiona Hall, Douglas Holleley, Marion Hardman, Robert Jacks, Bill Henson, Lorraine Jenyns, Robert Jenyns, Dale Hickey, Stephen Jones, Geoffrey Hogg, Peter Kennedy, Kerrie Lester, Robert Owen, Bea Maddock, Mike Parr, Mandy Martin, Paul Partos, Kevin Mortensen, Ann Newmarch, Lutz Presser, Robert Randall, Frank Bendinelli, Imants Tillers, Sally Robinson, Clifford Possum, Tjapaltjarri Tim Leura Tjapaltjarri, Charlie Tjapangati, Stelarc,Tony Trembath, Colin Suggett, Stephen Turpie, Peter Taylor, Ken Unsworth, Vicki Varvaressos, Frank Watters, Robin Wallace-Crabbe, Ken Whisson, Dick Watkins, Paul Winkler, Jenny Watson, Ray Woolard…. The expansive catalogue features images and texts on each artist, statements, a full list of exhibited works, and artist biographies. Illustrated in colour and b/w.
Good copy with light wear/tanning.
1985, English
Softcover, 188 pages, 21 x 30 cm
1st Edition, Out of print title / used / good
Published by
Art Gallery of New South Wales / Sydney
$50.00 - In stock -
Scarce catalogue published to accompany Australian Perspecta '85, the third biennale review of recent Australian art that focuses on more experimental expression as an alternative to the Sydney Biennale, showcasing the work of 140 artists, plus a programme of poetry and audio works, presented across multiple venues (Artspace, The Performance Space, The Irving Sculpture Gallery, and Mori Gallery) in 1985. With contributions from the curatorial team of Judy Annear, Anthony Bond, Sandra Byron, Ursula Prunster, Gary Sangster, Celia Winter-Irving, Cheryll Sotheran and Nick Tsoutas, the expansive catalogue features images and texts on each artist, statements, a full list of exhibited works, and artist biographies. Illustrated in b/w throughout.
Featuring Maria Kozic, Janet Burchill, Jennifer McCamley, Peter Tyndall, Tony Clark, Richard Dunn, Merilyn Fairskye, Hilarie Mais, Fiona MacDonald, Bonita Ely, Joan Brassil, Julie Brown-Rrap, John Lethbridge, Anne MacDonald, John Nixon, Robert Owen, Stieg Person, Jacky Redgate, John Young, Marianne Baillieu, John Beard, Martin Boscott, Kate Farrell, Lindy Lee, Geoff Lowe, Margaret Morgan, Jan Nelson, Susan Norrie, Davida Allen, Suzanne Archer, Giselle Antman, Cressida Campbell, Alison Clouston, Janenne Eaton, Judith Ahern, Lyn Ashby, Jean-Marc Dupre, Wayne Fimo, Fiona Hall, Merryle Johnson, Mental As Anything, Ann Noon, Robyn Stacey, Antoinette Starkiewicz, Kym Vaitiekus, Victoria Fernandez, Anne Ferran, Adrienne Gaha, Robyn Gordon, Elizabeth Gower, Wayne Hutchins, Robin Heks, Janet Laurence, Kate Lohse, Loretta Noonan, Loretta Quinn, Robyn Stacey, June Tupicoff, Vicki Varvaressos, Toni Warburton, Jenny Toynbee Wilson, Terence O'Malley, Rodney Pople, Rolando Caputo, Juan Davila, Laleen Jayamanne, Mark Titmarsh, Geoff Weary, Rowan Woods, Butchered Babies, Anne Graham, Leigh Hobba, The Ideological Sound Gospel Choir, Lyndal Jones, Derek Kreckler, Vineta Lagzdina, Michele Luke, Pamela Harris, Terence O'Malley, Andrew Petrusevics, David Watt, Stephen Wigg, Z.I.P., Joan Grounds, Neil Dawson, Jacqueline Fahey, Jacqueline Fraser, Robert McLeod, lan McMillan, Maria Olsen, Marlee Creaser, Heather Dorrough, Noelene Lucas, Geoff Miller, Bronwyn Oliver, Michael Snape, Arthur Wicks, Nigel Helyer, Mona Ryder, Jill Scott, Christopher Hodges, Madonna Staunton, Janice Hunter, Wendy Stavrianos, Tim Jones, Robert Thirwell, Stephen Killick, Ken Unsworth, Theo Koning, Hossein Valamanesh, Henry Lewis, Allen Viguier, Michele Luke, Robin Wallace-Crabbe, David Lyons, Bruce Armstrong, Jane Barwell, Akio Makigawa, Paul Boston, Simone Mangos, Rodney Broad, Ross Mellick, Bill Brown, Geoff Miller, Brad Buckley, Susan Nightingale, Alison Clouston, Colin Offord, Peter Crocker, Geoff Parr, Dennis Del Favero, Mike Parr, Margaret Dodd, Simon Penny, Michiel Dolk, Ari Purhonen, Tom Risley, Lise Floistad, Kristine Rose, lan Gentle, Victor Rubin, Richard Goodwin, Carol Rudyard, Anne Graham, David Ryan, Mona Ryder, and more.
Average-Good copy with spine crease and general wear to extremities.
1985, German
Hardcover, 184 pages, 27.5 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Kölnischer Kunstverein / Köln
$45.00 - In stock -
Lovely 1985 hardcover catalogue published on the occasion of the exhibition of the same name at the Kölnischer Kunstverein, March 23—June 2, 1985, curated by German art historian and curator Wulf Herzogenrath, featuring Josef Albers, Joseph Beuys, John Cage, Carl Gustav Carus, Marcel Duchamp, Jannis Kounellis, René Magritte, Kasimir Malevich, La Monte Young / Marian Zazeela, Barnett Newman, Nam June Paik, Arnulf Rainer, Odilon Redon, Mark Rothko, Reiner Ruthenbeck, and Georges Seurat. Heavily illustrated in colour and b/w with accompanying texts in German.
Good copy with some rubbing/flaking to silkscreened carbon black hardcovers, otherwise Very Good throughout. Previous owner's name to title page (that of Melbourne artist Bernhard Sachs).
1997, English / German
Softcover, 136 pages, 25 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Verlag der Kunst / Berlin
$30.00 - In stock -
First, scarce 1997 edition of "In Media Res: Photography and Other Media Art from Berlin" a book published on the occasion of the exhibition curated by René Block and Angelika Stepken for the Istanbul Biennial in 1997. Edited by Angelika Stepken, Heinz Emigholz, and Golo Follmer, heavily illustrated in colour and b/w with accompanying texts in lingual English and German, featuring the work of: Bettina Allamoda, Dieter Appelt, Sam Auinger, Rupert Huber, Fritz Balthaus, Lothar Baumgarten, Arnold Dreyblatt, Ulrich Eller, Heinz Emigholz, Nina Fischer & Maroan el Sani, Thomas Florschuetz, Adib Fricke, Elfi Fröhlich, (e.) Twin Gabriel, Nan Goldin, Asta Gröting, Gün, BKH Gutmann, Gusztáv Hámos, Jörg Herold, Rolf Julius, Werner Klotz, Igor & Svetlana Kopistiansky, Christina Kubisch, Susanne Lauterbach, Jozef Legrand, Florian Merkel, Dörte Meyer, Robin Minard, Piotr Nathan, Olaf Nicolai, Yufen Qin, Fritz Rahmann, Martin Riches, Rivka Rinn, Eva-Maria Schön, John Schuetz, Gundula Schulze El Dowy, Katharina Sieverding, Andrea Sunder-Plassmann, Frank Thiel, Wolf Vostell, Ute Weiss-Leder, Matthias Zeininger...
Very Good copy.
1982, English
Softcover, 224 pages, 21 x 30 cm
1st Edition, Out of print title / used / good
Published by
Biennale of Sydney / Sydney
$70.00 - In stock -
Catalogue published on the occasion of the Fourth Biennale of Sydney 1982, 7 April – 23 May 1982. Under the artistic direction of William Wright the 1982 Biennale was titled "Vision in Disbelief" and featured the work of Jörg Immendorff, Dan Graham, Brian Eno, Sue Ford, Joan Jonas, Lyndal Jones, John Baldessari, Robert Ashley, Billy Apple, Gary Hill, Fiona Hall, Philip Guston, General Idea, Bill Henson, Slave Guitars, Michael Snow, Severed Heads, Martha Rosler, Nam June Paik, Mike Parr, Tony Oursler, Davida Allen, Dale Frank, Rebecca Horn, Gareth Sansom, Lucas Samaras, Pe Kirkeby, Maria Kozik, Laughing Hands, Bertrand Lavier, Liz Magor, Anne Marsh, Markus Lupertz, William Wegman, Bill viola, Niele Toroni, Ken Unsworth, Marina Abramovic, John Ahearn, Vivienne Binns, Ian Breakwell, Georg Baselitz, Frank Auerbach, Claus Bohmler, Sydney Ball, Anti-Music, Laurie Anderson, Terry Allen, →↑→ and many more.
This catalogue includes colour and black and white examples of the work of all participating artists alongside texts and biographies.
Good copy, no spine creases, general light age, wear, tanning.
1996, Japanese
Softcover, 100 pages, 30 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Rockin' On / Tokyo
$45.00 - In stock -
H Magazine November 1996, the culture magazine published by Tokyo publishing house Rockin' On. Each issue packed to the brim with 1990's fashion, photography, film, music, and more, this issue "Border Ground" features Rita Ackerman interview, art gallery and photographs shot by Richard Kern, fashion shoots for Undercover and Hysteric Glamour, Frank Kozik gallery and interview, Pizzicato Five, Ranran Suzuki, fashion shoots by Takashi Homma, Yoshiko Seino, Kenshu Shintsubo, Kyoji Takahashi, and much more.
Good-Very Good copy with some light wear.
1994, Japanese
Softcover, 100 pages, 30 x 23 cm
1st Edition, Out of print title / used / good
Published by
Rockin' On / Tokyo
$45.00 - Out of stock
H Magazine August 1994, the culture magazine published by Tokyo publishing house Rockin' On. Each issue packed to the brim with 1990's fashion, photography, film, music, and more, this issue "Lolita 94" features "Lolita photos, Lolita idols, Lolita movies, Lolita underwear, Lolita art and more! The latest Lolita image of 1994 as determined by H" including Christina Ricci, CoCo, Megumi Okina, Shampoo, a genealogy of iconic girls in film from Lillian Gish to Winona Ryder, exclusive interview and ("Good Girls") photographic gallery of artist and Warhol friend Gerard Malanga, Echobelly, Mazzy Star, painter Marlene Dumas, Lolita shopping guide, director Russ Meyer, Undercover, photos by Hirama Itaru, Nina Schultz, Nick Fry, artist Sakuragi Sayumi, lots of manga, and much more.
Average-Good copy with some folds/light wear.
1995, Japanese
Softcover, 100 pages, 30 x 23 cm
1st Edition, Out of print title / used / good
Published by
Rockin' On / Tokyo
$45.00 - In stock -
H Magazine September 1995, the culture magazine published by Tokyo publishing house Rockin' On. Each issue packed to the brim with 1990's fashion, photography, film, music, and more, this issue "X-GIRL" with a 54-page photo feature that covers the fashion of pop idols since the breakthrough of X-GIRL, all with interviews - Kahimi Karie, Ranran Suzuki, Yoshimi (Boredoms), Liv Tyler, Maiko Yamada, all the latest from X-GIRL, "GUNS & GIRLS" photo gallery and interview with Richard Kern, WORLD TECHNO NOW! with Takkyu Ishino and Ken Ishii featuring Love Parade '95, and much more.
Good copy with some light wear to extremities.