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:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2021, English
Softcover, 176 pages, 21.5 × 17 cm
Published by
Viscose / Copenhagen
$42.00 - Out of stock
Viscose is a new journal for fashion criticism. Launched between Copenhagen and New York in 2021, the periodical publishes critical writing and projects by a wide range of authors from the worlds of art, fashion, literature, and academia. Through specially edited thematic issues, Viscose gives space to projects that challenge and expand the possibilities of research, practice, and critique of fashion.
Issue 2 of Viscose inverts issue 1’s focus on the immaterial notion of style to instead explore the most material of fashion’s building blocks: Clothes.
Clothes are literally everywhere and cite complicated systems of production, distribution, and exchange on their paths around the world. Still, they never fully reveal their journey or destination, and may often signify little else than their own commodity status, the total genericness of the fashion product. Bringing together a wide range of artists, thinkers, and writers, the issue sets out to explore clothes as a signifier at once empty and over-burdened: as expressions of desires, people and places, as palimpsests for capitalist production cycles and histories of dressed bodies, and even, as nondescript material debris. While not necessarily foregoing an analysis of the fashion system, we hope to develop a form of fashion criticism that begins – and perhaps ends – with the single garment, that takes the everyday use of clothing objects as an intellectual starting point. What knowledge can we gather from the studying of fashion objects, be they material or immaterial? What is the difference between clothes and fashion? And to which extent is even "fashion" ever successfully signified by things?
Featuring Nina Beier, Anna-Sophie Berger, Paige K. Bradley, Laura Brown, Pia Camil, Dal Chodha, Victoria Colmegna, Exatitudes (Ari Versluis and Ellie Uyttenbroek), Anna Franceschini, Laura Gardner, Rhonda Lieberman, Eric N. Mack, Kristian Vistrup Madsen, Christian Oldham, Kembra Pfahler, Carl Gustaf Von Platen, Mattia Ruffalo, Tenant of Culture, Torbjørn Rødland, Barbara Sanchez-Kane, Else Skålvoll Thorenfeldt, Jeppe Ugelvig, Femke de Vries, Issy Wood, Bruno Zhu.
1985, English
Softcover (staple-bound), 62 pages, 30 x 21.5 cm
1st Edition, Out of print title / used / average
Published by
CROWD / Melbourne
$35.00 - Out of stock
Scarce copy of the February 1985 issue of Melbourne's CROWD magazine, committed to "Fashion Music Style", published in Melbourne with heavy ties to Tokyo. With cover photographed by Rozalind Drummond, this issue, "The Parade Issue", includes features on "Fashion '84" (major Melbourne fashion parade presenting 32 Australian designers), "The Third Wave" a feature on Tokyo designers, "London Goes To Tokyo", "Tokyo International Collections" (Comme, Gaultier, Katharine Hamnett), an interview with PiL's John Lydon, Australian designer Marc Newson, British milliner Stephen Jones, interview with Sade Adu, fashion designer Reva Manicavasagar, Nick Lowe, fashion shoots, hair styling, films, records, social pages, clubs, clubs, clubs, fstreet fashion, great Melbourne advertisements, and more!
Good copy with wear and marking to covers, edges. Rippling to front cover.
1984, English
Softcover (staple-bound), 46 pages, 30 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
CROWD / Melbourne
$35.00 - Out of stock
Scarce copy of the November 1984 issue of Melbourne's CROWD magazine, committed to "Fashion Music Style", published in Melbourne with heavy ties to Tokyo. With cover (Yohji Yamamoto) by photographer Polly Borland, this issue opens with Street Fashion and includes an exclusive interview with Andy Warhol via Keith Haring, an interview with Divine, interview with Howard Jones, Berlin (with photography by Rozalind Drummond), Polly Borland interview, The Cure, Machinations, Australian fashion designer Kara Baker's Sirens clothing label, Japanese fashion designer Koshin Satoh's ARRSTON VOLAJU clothing label (designer for Miles Davis), fashion shoots, hair styling, films, records, social pages, clubs, clubs, clubs, fashion parade reviews, great Melbourne advertisements, and more!
Good copy with wear and marking to covers, edges.
2016, English
Softcover (two-volume set), 260 pages, 21 x 29.7 cm
1st Edition, Out of print title / used / very good
Published by
Kunsthalle Wien / Vienna
Sternberg Press / Berlin
$90.00 - Out of stock
Out-of-print.
Edited by Luca Lo Pinto. Texts by Andrew Ayers, Dafne Boggeri, Luca Lo Pinto, Stephen Piccolo, Lodovico Pignatti Morano, Barbara Radice
Nathalie Du Pasquier was one of the founding members of Memphis, the groundbreaking Milanese design and architecture collective. During her time with the group she designed patterns for textiles and carpets as well as objects and furniture. Since 1987, however, her main focus and passion has been painting. The title of this publication describes the main focus of her work: the still life. Her distinct influences are visible here: travels to Africa, the ornamentation of the Wiener Werkstätte, the art of Le Corbusier and Amédée Ozenfant, and Novecento painting by Giorgio de Chirico and Giorgio Morandi.
This two-volume publication consists of an artist’s book by Du Pasquier with drawings, photographs, and reproductions of her paintings, and a book with photographs by Delfino Sisto Legnani of works from the past decades. Texts by writers and artists and an interview with Du Pasquier provide an informative and subjective view of her artistic practice.
Copublished with Kunsthalle Wien on the occasion of the eponymous exhibition, July 15–November 13, 2016
Design by Tank Boys
As New copy of this out-of-print title but with bumped corner of larger volume.
1993, French / Japanese
Softcover (w. inserted price booklet), 100 pages, 21 x 29 cm
1st Edition, Out of print title / used / very good
Published by
Louis Vuitton / Paris
$90.00 $40.00 - Out of stock
Very collectable Louis Vuitton product catalogue from 1993, Japanese industry edition! First edition, including inserted price booklet.
These wonderfully designed and heavily detailed books illustrate all LV luggage, bags, wallets, purses, scarves, umbrellas and other Louis Vuitton accessories, listed with details and specifications for each item presented in 1987, largely featuring the famed LV Toile Monogram. Texts in French and Japanese, including blurbs on each range and
1987, French / Japanese
Softcover, 74 pages, 21 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Louis Vuitton / Paris
$90.00 $40.00 - Out of stock
Very collectable Louis Vuitton product catalogue from 1987, Japanese industry edition!
These wonderfully designed and heavily detailed books illustrate all LV luggage, bags, wallets, purses, scarves, umbrellas and other Louis Vuitton accessories, listed with details and specifications for each item presented in 1987, largely featuring the famed LV Toile Monogram.
2014, English
Softcover, 128 pages, 22 x 28 cm
1st Edition, Out of print title / as new
Published by
Yale University Press / New Haven
$55.00 $15.00 - Out of stock
Since the 1960s, Leatrice and Melvin Eagle have acquired decorative arts of the highest quality, beginning with contemporary ceramics and then expanding to works in other mediums produced from the 1940s to the present. Although primarily American in scope, their collection also encompasses significant pieces by acclaimed international artists. This book presents, for the first time, key highlights from the Eagle collection, which was acquired by the Museum of Fine Arts, Houston, in 2010. At the core of the collection are stunning examples of ceramics by groundbreaking California-based artists, such as Robert Arneson, Ralph Bacerra, Viola Frey, David Gilhooly, Ron Nagle, Ken Price, Adrian Saxe, and Peter Voulkos. Also included is furniture by Wendell Castle and Sam Maloof; textile and fiber art by Olga de Amaral, John Garrett, John McQueen, and Cynthia Schira; and jewelry and metalwork by William Harper, Albert Paley, Earl Pardon, and Joyce J. Scott. This catalogue features works by about 40 key artists and an illustrated checklist of about 170 objects in the collection.
As New copy.
2021, English
Softcover, 184 pages, 23 x 31 cm
Published by
Roma / Amsterdam
$60.00 - Out of stock
BILL 3 is the third issue of an annual magazine of photographic stories, edited and designed by Julie Peeters. BILL 3, a special archival issue, features unpublished Martin Margiela lookbook photographs, a horse, street style from the 90’s, vases of Japan, a silver story, a flash forward and back, tennis, an icecube tray, more Margiela, Hysteric Glamour and a bunch of frivilous images.
The stories are sourced from the book collections of RareBooksParis and Julie Peeters. Printed in 2020, bound in 2021
2021, English
Hardcover, 632 pages, 19.8 x 28.2 cm
Published by
Yale University Press / New Haven
$135.00 - Out of stock
Forty years of catwalk photography featuring seventy groundbreaking collections from the inimitable Vivienne Westwood – over 1,000 looks as they originally appeared in Westwood's iconic shows.
"The only reason I'm in fashion is to destroy the word 'conformity,'" Vivienne Westwood (b. 1941) declared early in her career. With her provocative synthesis of historic British fashion, classic painting aesthetics, and punk culture, the British designer has continuously revolutionized the fashion industry since her first catwalk collection, "Pirate," debuted in 1981. Opening with a concise history of the house and brief biographical profiles of Westwood and her longtime collaborator Andreas Kronthaler, this spectacular volume--the seventh in the celebrated Catwalk series--documents all of Westwood's catwalk collections from 1981 to today. Short texts illuminating each collection's highlights and influences are accompanied by carefully curated catwalk photographs showcasing hundreds of clothing ensembles, accessories, beauty looks, and set designs, along with the top fashion models who walked the runway, including Kate Moss and Naomi Campbell. With an extensive reference section, this lavishly illustrated volume provides unrivalled insight into one of the most thought-provoking and influential fashion designers in the world.
1979, English
Hardcover (w. dust jacket), 96 pages, 28 x 21.5 cm
1st Edition, Out of print title / used / very good
Published by
Studio Vista / London
The Whitney Library of Design / New York
$85.00 - Out of stock
First edition from 1979 of One Room Interiors: 34 Designs from Around the World, edited by Franco Magnani and published by the great Studio Vista in London and The Whitney Library of Design in the United States and Canada. Profusely illustrated throughout with fine examples of small open-plan interiors that don't let spatial restriction impact their elegance, expression, comfort and style. Wonderful interiors, largely Italian, featuring the decor and furniture of Ponti, Munari, Colombo, SITE, and many more.
Very Good copy in VG dust jacket.
1969, English
Hardcover (w. dust jacket), 162 pages, 29.5 x 22.5 cm
1st US Edition, Out of print title / used / very good
Published by
Universe Books / New York
$140.00 - Out of stock
First 1969 English language edition of the collectable Modern Interiors by legendary Italian interiors editor Franco Magnani, originally published in Italian under the title "idee per la casa". This edition was also printed in Italy, evident from the stunning crisp, colour-saturated photographic reproductions of the contemporary home at the close of the 1960s. Almost 200 images capture that wonderful period of transition from the organic 1950s into the dynamic environments of 1960s pop and the space age, featuring the work of designers, manufacturers, architects, and artists such as Ludwig Mies Van Der Rohe, Tobia Scarpa, Vico Magistretti, Cassina, Charles Eames, Herman Miller, Arteluce, Venini, Achille Castiglione, Flos, Knoll, Artemide, Marcel Breuer, Eero Saarinen, Kartell, Marco Zanuso, Cini Boeri, Arflex, Dino Frigerio, Enrico Peressutti, Thonet, Joe Colombo, Carla Venosta, Roberto Mango, Fontana Arte, Giuseppe Ajmone, Marco Zanuso, Artemide, Paleari Arredamenti, Driade, Marco Comolli, Antonio Calderara, Carlo Graffi, Alberto Rosselli, Gavina, Claudio Dini, Marcello Grisotti, Rafaella Crespi, Emilia Sal Giorgio Madini, Giuseppe Gibelli, Lorenzo Forges, Bruno Munari, Arredamenti Pillinini, Tito Agnoti, Mario Passanti, George Coslin, and many more! Includes diagrams, plans, and identifications of all the designers and manufacturers of the furniture, fabrics, wall coverings, tiles, lamps and accessories illustrated, making it a valuable resource for anyone interested in the decorative arts of the 1960s.
Fine - Very Good copy with VG dust jacket preserved under mylar wrap.
1974, English
Hardcover (w. dust jacket), 163 pages, 26.5 x 27 cm
1st Edition, Out of print title / used / good
Published by
Studio Vista / London
Office du Livre / Fribourg
$120.00 - Out of stock
First English hardcover edition of this gorgeous French interior design volume, published by the great Studio Vista and Office du Livre in 1974.
Celebrated French interior decorator and designer Alain Demachy has edited together a stunning collection of examples of interior spaces by himself and fellow designers Gae Aulenti, David Hicks, Michel Boyer, Jacques Grange, and many more, all beautifully photographed and presented in colour and black and white alongside texts by Demachy. Features works by Charles Eames, Roger Tallon, Lucio Fontana, Gae Aulenti, Erté, Claude and Francoise-Xavier Lalanne, Andy Warhol, Mies Van der Rohe, Joe Colombo, Tom Wesselman, Cesar, Gerorge Nelson, Afra & Tobia Scarpa, and many more. Printed in Switzerland.
"Alain Demachy studied at the Ecole spéciale d'architecture. He edited the Decoration section in Marie-Claire from 1954. He numbers amongst his most famous clients the Barons Edmond, Alain and David de Rothschild, the Grand Duke of Luxembourg, Prince Albert of Liege, President Houphouet-Boigny, Brigitte Bardot and Johnny Halliday. As well as private houses and apartments, he designs many offices, department stores, restaurants and drug stores all over the world."
Good copy, preserved in original dust jacket (with tanning to spine), now under plastic wrap. Ex-libris markings, otherwise would be a Very Good copy.
2017, English
Softcover, 392 pages, 21 x 28 cm
Published by
Onomatopee / Eindhoven
$60.00 - Out of stock
Dictionary Dressings is an ongoing research project by Femke de Vries that uses the nature of the dictionary definition as a "zero condition" for a piece of clothing to decode clothes and explore an alternative fashion vocabulary. Dictionary definitions are constructed to be factual and rational and as a consequence the entries for items of clothing show no reference to the ephemeral or immaterial character of fashion. They describe the characteristics of the items, their use and their relation to the body but never mention fashion or style. Take the Dutch definition of a glove for example: “Handschoen: bekleding van de hand” (literally translated into English as "Glove: covering of the hand"). Since a hand can be covered by putting it in a pocket, by bandaging it or by sitting on it, the definition allows a pair of trousers or a bandage to be interpreted as a glove – they cover the hand and so adhere to the definition. It is exactly this particular nature of the definitions of clothing that forms the foundation and very structure of Dictionary Dressings as a research project and an emerging design approach.
Designed by Hans Gremmen (of Fw:Books) and featuring Barbara Brownie, BLESS, Conny Groenewegen, Elisa van Joolen, Joke Robaard, Ruby Hoette and Students from the HKU (University of the Arts Utrecht) 2015–16.
2020, English
Hardcover, 504 pages, 21.6 x 26.7 cm
Published by
Yale University Press / New Haven
Bard Graduate Center Gallery / New York
$130.00 - Out of stock
A smartly designed and beautifully illustrated look at the life and work of an elusive and influential designer and architect
Eileen Gray (1878–1976) was a versatile designer and architect who navigated numerous literary and artistic circles over the course of her life. This handsome volume chronicles Gray’s career as a designer, architect, painter, and photographer. The book’s essays, featuring copious new research, offer in-depth analysis of more than 50 individual designs and architectural projects, accompanied by both period and new photographs.
Born in Ireland and educated in London, Gray proceeded to Paris where she opened a textile studio, studied the Japanese craft of lacquer that would become a primary technique in her design work, and owned and directed the influential gallery and store known as “Jean Désert.” Gray struggled for acceptance as a largely self-taught woman in male-dominated professions. Although she is now best known for her furniture, lighting, and carpets, she dedicated herself to many architectural and interior projects that were both personal and socially driven, including the Villa E 1027, the iconic modern house designed with Jean Badovici, as well as economical and demountable projects, such as the Camping Tent.
Cloé Pitiot is curator of Art Nouveau, Art Deco, and contemporary design at the Musée des Arts Décoratifs, Paris. Nina Stritzler-Levine is director of the gallery and curatorial affairs at the Bard Graduate Center, New York.
1969, Japanese / English
Softcover, 96 pages, 32.5 × 25.5 cm
1st Edition, Out of print title / used / good
Published by
Interior Publishing Co. Ltd. / Tokyo
$70.00 - Out of stock
Japan's finest magazine for interior design, architecture and home furnishings, edited by Moriyama Kazuhiko. JAPAN INTERIOR DESIGN presented "a monthly comprehensive view of traditional, contemporary, and contemplated environmental designs and pure art forms both Japanese and foreign, through pictures and critical reviews. English captions and summaries of major articles are provided each issue." The in-depth analysis in which JAPAN INTERIOR DESIGN committed to covering new international furniture, textile, product, environmental, and interior design developments and major events from the period (1950s-1980s), places it soundly alongside its Italian comrade Domus. Lavishly illustrated throughout with beautiful photography in colour and b/w, with comprehensive plans, drawings and elevations bringing many innovative and long lost architectural and industrial designs into sharp focus. A wealth of archival reference material in each issue for any enthusiast of modern and space age design.
no. 120 March 1969
CONTENTS :
FEATURE OF THE MONTH : New Designs in Flexible Furniture
2020, English
Softcover, 150 pages, 21 x 29.7
Ed. of 100,
Published by
Endless Lonely Planet / Melbourne
$25.00 - In stock -
Melbourne Artist Facilitated Biennial publication by Melbourne artist Christopher LG Hill is both the ninth issue of his ongoing publishing imprint Endless Lonely Planet, and a major survey art book marking the end of his 12 year artist facilitated biennale project, spanning 2008-2020.
"Multiple sites and moments, artist facilitated biennials extending on structures and limitations set by Signs of life: Melbourne International Biennial 1999. Abstracting and bringing new meaning to the form of a biennial as a more casual and independent entity, the project has seen many participants and collaborators over the last 12 years. This book hopes to document some of these moments, but more so to be a catalyst for different modes and models that it may inspire." — publisher
Includes extensive photographic documentation of The (self initiated, Artist funded) second (fourth) Y2K Melbourne Biennial of Art (& Design), TCB art inc., 2008; The First & Final Y3K Second (third) Inaugural Melbourne Biennial of International Arts, Y3K, 2011 (curated by Joshua Petherick, James Deutsher, and Christopher L G Hill); Third/Fourth Melbourne Biennial, Margaret Lawrence Gallery, 2013; 4th/5th Melbourne Artist Facilitated Biennial, TarraWarra Museum of Art, 2016 (as part of TarraWarra Biennial 2016: Endless Circulation curated by Victoria Lynn and Helen Hughes/Discipline); 5th/6th final Melbourne Artist Facilitated Biennial, Dec 2018 -Dec 2020 (co-facilitated by Virginia Overell and Christopher L G Hill in their apartment/ the ex-Telecom building that was the site of the Melbourne International Biennial 1999)
Includes the work of ACW, Liz Allen, Animal Charm, Dan Arps, Sean Bailey, Liv Barrett, Matthew Brown, Ruth Buchannan, Jon Campbell, Jane Caught, Xin Cheng, Fiona Connor, Ying Lan Dann, James Deutsher, Daniel du Bern, Ida Ekblad, ffiXXed, Pat Foster & Jen Berean, Justin K Fuller, Matt Griffin, Ardi Gunawan, Hao Guo, Bianca Hester, Christopher L G Hill, Matt Hinkley, Helen Johnson, Lisa Kelly, Devin Kenny, Taree Mackenzie, Simon McGlinn, Rob Mckenzie, Nick Mangan, Scott Mitchell, Tahi Moore, Kate Newby, Geoff Newton, John Nixon, OSW, Alexander Ouchtomsky, Damon Packard, Spiros Panigriakis, Sean Peoples/ Cheese Peoples, Joshua Petherick, Kain Picken, Janneke Raaphorst, Nick Selenitsch, Christopher Schueler & Matthew Hopkins, Gregory P Sharp, Kate Smith, Sriwhana Spong, Dylan Statham, Masato Takasaka, Ben Tankard, Simon Taylor, Alex Vivian, Annie Wu, Hany Armanious, Andreas Banderas, Mikala Dwyer, Katherine Huang, Tobias Kaspar, Piotr Łakomy, Taree Mackenzie, Tahi Moore, Michael O’Connell, Ester Partegas, Natalie Rognsoy, John Spiteri, Dan Arps, Sean Bailey, Olivia Barrett, Matthew Benjamin, Jon Campbell, Trevelyan Clay, Fiona Connor and Michala Paludan, James Deutsher, DoubleFly, George Egerton-Warburton, Endless Lonely Planet, ffiXXed, Alicia Frankovich, Justin K Fuller, Marco Fusinato, Greatest Hits, Ardi Gunawan, Hao Guo, Christopher L G Hill, Matt Hinkley, David Homewood, Matthew Hopkins, Lou Hubbard, Renee Jaeger, Helen Johnson, Kenneth Biennale (curated by Kenny Pittock and Amy May Stuart: Chris Clarke, Christo Crocker, Christina Hayes, Chris L G Hill, Christine Pittock, Christopher Sciuto), Legendary Hearts (Kieran Hegarty and Andrew Cowie), S.T. Lore, Patrick Lundberg, Carrie McGrath, Rob McKenzie, Taree McKenzie, Nick Mangan, Gian Manik, Kate Meakin, Adelle Mills, Tahi Moore, Kate Newby, Elizabeth Newman, Virginia Overell, Sean Peoples, Joshua Petherick, Kain Picken, Lisa Radford and Sam George, Nick Selenitsch, Kate Smith, Studio Masatotectures, Sydney (Esther Edquist), Masato Takasaka and Madeline Kidd, Ben Tankard, Alex Vivian, Nicki Wynnychuk, y3k, Lauren Burrow, Counterfeitnessfirst, James Deutsher, Laurel Doody, George Egerton-Warburton, ELP3 Vine, Endless Lonely Planet, Lewis Fidock, Aurelia Guo, Christopher L G Hill, Lou Hubbard, Lucina Lane, Kate Meakin, Tahi Moore, Elizabeth Newman, Liam Osborne, Virginia Overell, Joshua Petherick, Lisa Radford, Zac Segbedzi, Nick Selenitsch, Nicholas Tammens, Alex Vivian, Rudi Williams, Gavin Bell, Jarrah de Kuijer and Simon McGlinn, Candida ((Gian Manik and Ricarda Bigolin) in collaboration with Agnieszka Chabros, Samuel Heatley and Jaala Jensen), Xin Cheng, Fiona Connor, Renee Cosgrave, Christo Crocker, Ying Lan Dann, Endless Lonely Planet, Richard Frater, Aurelia Guo, HB Peace, Hoggle, Lou Hubbard, Olivia Koh, Spencer Lai, Laurel Doody Library Supply, Patrick Lundberg, Kate Meakin, Olivia O’Donnell, Jason Willers, and more...
More info at http://www.christopherlghill.com
1986, Japanese
Softcover, 119 pages, 21 x 29.7 cm
1st Edition, Out of print title / used / very good
Published by
Kijōka-bashōfu Preservation Society / Okinawa
$120.00 - Out of stock
Absolutely gorgeous one-of-a-kind publication first published in 1979 by the Kijōka-bashōfu Preservation Society, documenting the seldom seen world Kijōka-bashōfu, a Japanese textile craft derived from the bashō or Japanese banana fibre as practiced in the sleepy mountainous village of Kijōka, on Okinawa island. A rare glimpse into designs and practice behind this unique textile, painstaking hand-crafted from the bashō fibre into cloth for garments, similar in quality to linen or hemp, woven in indigo and brown designs of stripes, checks, and diverse Kasuri, a Japanese word from the verb kasureru meaning “to blur”, similar to Ikat. This comprehensive, almost encyclopaedic printed study tells the history of the craft, profusely illustrating hundreds of to-scale fabric swatches of the many examples of patterned textile, illustrations of the weaving and dying tools used, its use in Kimono, and photographic documentation of every stage of its manufacture by the craftspeople in the village of Kijōka.
This lovely 1993 edition (we believe the fourth) comes wrapped in textured fibrous blue covers and includes a real swatch of the bare woven material itself, laid-in to the opening pages.
A very special book for anyone interested in traditional fibre crafts, weaving and textiles.
Very Good copy throughout.
2020, English
Hardcover, 328 pages, 21.3 x 28.2 cm
Published by
MASP / São Paulo
$100.00 - Out of stock
One of the most radical and joyful artists of the 20th century, Hélio Oiticica (1937-80) helped lead the charge in Brazilian art’s unique transition from abstract concrete art to performative objects and collective performance.
As MoMA’s 2019 exhibition Sur Moderno demonstrated, one of Oiticica’s most revolutionary projects was the Parangolé, wearable sculptures made from fabric, plastic or paper. The Parangolé is meant to be worn, inhabited and danced by a participant, lending a physical spontaneity to the piece that entirely blurs the boundaries between the art object and those who experience it.
Dance in My Experience traces the genealogy of this theme within the artist’s oeuvre, identifying rhythmic, choreographic and dance elements throughout his trajectory, from his first Metaesquemas through the Spatial Reliefs, Nuclei and Bólides, culminating in the Parangolés. Texts by Oiticica and numerous scholars.
Edited with text by Adriano Pedrosa, Tomás Toledo. Text by Adrian Anagnost, Cristina Ricupero, Evan Moffitt, Fernanda Lopes, Fernando Cocchiarale, Sergio Delgado Moya, Tania Rivera, Vivian A. Crockett, Hélio Oiticica.
2020, English
Hardcover, 336 pages, 27 x 21.5 cm
Published by
Koenig Books / London
$98.00 - Out of stock
‘Prime Suspect’ is the first international survey exhibition of the Brussels-based Scottish artist, Lucy McKenzie (b. 1977).
The exhibition at Museum Brandhorst brings together all of the artist’s significant bodies of work from 1997 to the present.
This extensive and profusely illustrated catalogue documents the full range of McKenzie’s oeuvre – from her early works exploring the pageantry and iconography of international sport and the politics of postwar muralism, through her engagement with fin-de-siècle architecture and interior design and mid-century Belgian illustration.
Through her ongoing research into the intertwined histories of art, fashion and retail display, McKenzie has established herself among the most singular artistic voices of her generation.
2020, English
Softcover (spiral-bound), 244 pages, 31 x 24 cm
Published by
Serpentine Gallery / London
$98.00 - Out of stock
‘Atelier E.B: Passer-by’ examines an essential facet of the fashion industry: the world of mannequins and retail display.
Since the Surrealists took them up in the early twentieth century, mannequin have been an enduring motif within fine art. Lipscombe and McKenzie un-pack the disciplines of window dressing, look to radical thinkers and makers who dissolved the dividing line between fine art and commercial display, and piece together a compelling narrative that encompasses ethnography, statuary, dolls, the world fairs and our digital future.
This catalogue, like the traveling exhibition, is a meticulous and idiosyncratic study of the hierarchies which have historically separated the spheres of art and design, examining the border between commercial display and exhibition-making.
English and French text. Co-published with Lafayette. Accompanies the touring exhibition ‘Atelier EB: Passer-by’, travelling to Serpentine Galleries, London 2019: Lafayette Anticipations, Paris, 2019, and Garage Museum of Contemporary Art, Moscow, 2020.
2011, English
Softcover, 88 pages (3-colour Riso printing), 22 x 19 cm
Ed. of 500,
1st Edition, Out of print title / as new
Published by
KLTB / New York
$100.00 - In stock -
The Vestiarium Scoticum was originally published in a small edition in 1842 by brothers John Sobieski Stuart and Charles Edward Stuart, who had ingratiated themselves into Scottish society by claiming to be descendants of Bonnie Prince Charlie. The tartans featured were purportedly taken from a document from 1721 which itself was a copy of an orginal manuscript dating back to the 16th century. This was presented as historical proof of the connection between tartans and family clans, a link that previously had no record. The brothers claims were later found to be totally untrue — the Stuarts had in fact designed many of the supposedly ancient designs themselves, tartans now claimed as authentic by manufacturers and families alike.
The tartans contained within this book compiled by British artist Nick Relph were sourced from digital versions uploaded to the Vestarium Scoticum Wikipedia page in 2007 by someone calling themselves Celtus. At the time of printing, Celtus is no longer active on Wikimedia Commons (the branch of Wikipedia that handles media files) and as such is considered a 'retired editor'.
Printed on a Risograph, this edition supplements the subtractive process colors Cyan, Magenta, Yellow and Key (Black) typically used in printing with Red, Green and Blue — the components of the additive color model, the partitive mixing of the computer screen and the dominant colors of the tartans herein.
Printed and bound by Knust/Extrapool in Nijmegen, The Netherlands and Published by KLTB, Brooklyn, in an edition of 500.
Available with Red, Green or Blue covers.
2011, English
Softcover, 88 pages (3-colour Riso printing), 22 x 19 cm
Ed. of 500,
1st Edition, Out of print title / as new
Published by
KLTB / New York
$80.00 - Out of stock
The Vestiarium Scoticum was originally published in a small edition in 1842 by brothers John Sobieski Stuart and Charles Edward Stuart, who had ingratiated themselves into Scottish society by claiming to be descendants of Bonnie Prince Charlie. The tartans featured were purportedly taken from a document from 1721 which itself was a copy of an orginal manuscript dating back to the 16th century. This was presented as historical proof of the connection between tartans and family clans, a link that previously had no record. The brothers claims were later found to be totally untrue — the Stuarts had in fact designed many of the supposedly ancient designs themselves, tartans now claimed as authentic by manufacturers and families alike.
The tartans contained within this book compiled by British artist Nick Relph were sourced from digital versions uploaded to the Vestarium Scoticum Wikipedia page in 2007 by someone calling themselves Celtus. At the time of printing, Celtus is no longer active on Wikimedia Commons (the branch of Wikipedia that handles media files) and as such is considered a 'retired editor'.
Printed on a Risograph, this edition supplements the subtractive process colors Cyan, Magenta, Yellow and Key (Black) typically used in printing with Red, Green and Blue — the components of the additive color model, the partitive mixing of the computer screen and the dominant colors of the tartans herein.
Printed and bound by Knust/Extrapool in Nijmegen, The Netherlands and Published by KLTB, Brooklyn, in an edition of 500.
Available with Red, Green or Blue covers.
2011, English
Softcover, 88 pages (3-colour Riso printing), 22 x 19 cm
Ed. of 500,
1st Edition, Out of print title / as new
Published by
KLTB / New York
$80.00 - Out of stock
The Vestiarium Scoticum was originally published in a small edition in 1842 by brothers John Sobieski Stuart and Charles Edward Stuart, who had ingratiated themselves into Scottish society by claiming to be descendants of Bonnie Prince Charlie. The tartans featured were purportedly taken from a document from 1721 which itself was a copy of an orginal manuscript dating back to the 16th century. This was presented as historical proof of the connection between tartans and family clans, a link that previously had no record. The brothers claims were later found to be totally untrue — the Stuarts had in fact designed many of the supposedly ancient designs themselves, tartans now claimed as authentic by manufacturers and families alike.
The tartans contained within this book compiled by British artist Nick Relph were sourced from digital versions uploaded to the Vestarium Scoticum Wikipedia page in 2007 by someone calling themselves Celtus. At the time of printing, Celtus is no longer active on Wikimedia Commons (the branch of Wikipedia that handles media files) and as such is considered a 'retired editor'.
Printed on a Risograph, this edition supplements the subtractive process colors Cyan, Magenta, Yellow and Key (Black) typically used in printing with Red, Green and Blue — the components of the additive color model, the partitive mixing of the computer screen and the dominant colors of the tartans herein.
Printed and bound by Knust/Extrapool in Nijmegen, The Netherlands and Published by KLTB, Brooklyn, in an edition of 500.
Available with Red, Green or Blue covers.
2011, English
Softcover, 256 pages, 30 x 25 cm
Published by
Melbourne Books / Melbourne
$50.00 $25.00 - Out of stock
Michael O’Connell: The Lost Modernist documents the life and work of this major figure in AngloAustralian design history. Born in Cumbria in 1898 Michael O’Connell saw action on the Western Front in WWI before moving to Australia in 1920. Over the following 17 years he became a critical member of the burgeoning Modernist movement in Melbourne primarily through his innovative and dynamic textiles. First exhibited in 1930 his hand blockprinted fabrics revolutionised Australian textile design, which at the time was an entirely amateur affair, and laid the foundations of its future development. On his return to the UK in 1937, O’Connell became a key figure in contemporary textile design, producing fabrics for Edinburgh Weavers in 1938 and then for Heals during the 1940s and 1950s. He was involved in a number of progressive government-initiated projects for schools and public institutions in the optimistic years of post-war Britain, including the celebrated wall hangings for the Country Pavilion at the Festival of Britain in 1951. During the 1960s until his death in 1976 O’Connell kept pace with contemporary art practice from his studio-home in Perry Green Hertfordshire, producing large-scale, innovative ‘textile murals’ in his unique combination of batik and resist dyeing. The Lost Modernist illustrates and discusses over 100 works from Australian and British public and private collections within the context of 20th century design history and the framework of O’Connell’s life.